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The author, a photographer and storyteller, travels in winter across the dark landscape of Russia and looks into the private face of the country's moral and social crisis.
The author, a photographer and storyteller, travels in winter across the dark landscape of Russia and looks into the private face of the country's moral and social crisis.
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'Conflict Time Photography' explores the relationship between photography and sites of conflict over time, highlighting the fact that time itself is a fundamental aspect of the photographic medium.
"( ) there has to be a photograph in the newspaper. Or an image which emerges from reading an article. The journalistic way of relating facts, which is to say incompletely, without affect or commentary, is the best stimulus for the imagination: it lets me see situations. Nothing which happens during these first moments can help me later on, except by setting something off, but that's still where everything begins." In this way Luc Delahaye's pictures are often made at sites and events from which newspapers report everyday. They indicate an approach that is both direct and detached, where the unromantic clarity of the documentary style contradicts and enhances the dramatic intensity of the "tableau" form. Within their visual coherence, they express a nub of formal tensions and invite the beholder to reflect on the relationship between art, history and information through a distanced contemplation. "
Catalogue de l'exposition présentée à la galerie Nathalie Obadia à Paris en janvier 2011. Il s'agit de la première exposition personnelle de Luc Delahaye dans sa galerie parisienne. Luc Delahaye présente dix nouvelles photographies de grand format réalisées au cours des quatre dernières années. Les photographies de Luc Delahaye, souvent prises sur les théâtres de l'actualité, témoignent d'une approche à la fois directe et détachée, et leur puissance narrative est soutenue par la forme spectaculaire du tableau de grand format. Le texte du catalogue, bilingue français-anglais, est constitué d'une conversation avec Quentin Bajac.
The Pleasures of Good Photographs showcases primarily new essays, with a couple of classics thrown in for good measure, making it an important addition to the canon of photographic writing.
This lavishly illustrated, accessible survey presents the work of nearly 120 international artists at the forefront of the boom in photography, among them Elina Brotherus, Tacita Dean, Luc Delahaye, Alec Soth, Jens Ullrich and Michael Wesely. Each artist is introduced by a brief essay, followed by four pages of their superbly reproduced work. This is a valuable and forward-looking reference book for photographers, collectors and photography lovers everywhere.
From the late 1970s onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship between the photograph and the viewer standing before it that until then had been the province only of painting. Fried further demonstrates that certain philosophically deep problems—associated with notions of theatricality, literalness, and objecthood, and touching on the role of original intention in artistic production, first discussed in his controversial essay “Art and Objecthood” (1967)—have come to the fore once again in recent photography. This means that ...
Published on the occasion of an exhibition held at the National Gallery, London, Oct. 31, 2012-Jan. 20, 2013, the CaixaForum Barcelona, Feb. 21-May 19, 2013 and at the CaixaForum Madrid, June 19-Sept. 15, 2013.