In a career spanning more than four decades, Berlin-born Sibylle Bergemann created an extraordinary oeuvre ranging from fashion and portrait photographs, literary reportages and artistic documentary series. Alternating between commissions and work of her own choosing, her focus was always on people. In the GDR, Bergemann worked both freelance as well as continuously for various art and culture magazines. After the fall of the Berlin Wall, she co-founded the self-administered photographer's agency OSTKREUZ, and worked for leading German as well as international magazines such as GEO, Die Zeit, Stern or New York Times Magazine. The catalog accompanying the exhibition at Berlinische Galerie approaches the unique visual universe of one Germany's most famous photographers on several narrative levels. Including more than 200 photographs from the museum's own collection as well as from the photographer's estate, it shows selected images from her early work for the first time.
Cette publication présente les dessins préparatoires de David Claerbout, photographe et vidéaste belge qui développe depuis près de 20 ans une réflexion sur la perception, lespace et le temps.
Taryn Simon est aujourd?hui l?une des jeunes photographes les plus recherchées par les musées internationaux et les mieux cotées sur le marché de l'art. Cette américaine mène depuis des années des projets complexes qui demandent des trésors de diplomatie et des mois d?enquête. Dans Birds of the West Indies, elle s'intéresse au concept « James Bond » en répertoriant les ingrédients - femmes, véhicules et gadgets - qui font la recette à succès des films de 007.
Femxphotographers.org's second publication Mind Over Matter focuses inward. Women's bodies are frequently sexualized while their minds are vilified and their voices silenced. This is true throughout history and in different cultures worldwide. A book about female vision, the power of the mind, as well as dreams and fantasies, logic and intuition, Mind Over Matter is an exploration of inner strength, courage, determination, willpower, and support in complex and individual series. Edited by Roula Seikalyi and with contributions by photographers from the team as well as many guest artists and writers, the publication has the character of an illustrated reader.
Le photographe français Emmanuel Georges recherche le rêve américain. Avec un appareil photo grand format et une approche de style documentaire, il a capturé la réalité de l'Amérique rencontrée au cours de son voyage.
Cette rétrospective en français rend hommage au célèbre photographe Frank Horvat et plus particulièrement à ses photos de mode, qui ont révolutionné le genre dans les années 50 et 60. Dès 1959 pour Jours de France, il quitte le studio pour la rue, saisit ses modèles devant les étals du marché parmi la foule des passants. Plus tard, il expérimente des motifs audacieux ou reproduit des scènes de film, travaillant souvent au Leica 35mm.
Ce photographe polonais, lauréat du World Press Photo 2012, livre avec Keiko une série de photographies sur des journaliers bangladais qui démantèlent les épaves des cargos échoués sur les plages de Chittagong pour en recycler les matériaux. Ses clichés noir & blanc très contrastés et au grain épais sont d'une intensité remarquable.
La complexité du portrait, son piège le plus retors, réside toujours dans les relations de pouvoir. Le modèle est aveugle, dans l'impossibilité de contrôler son apparence, tandis que l'oeil mécanique tente désespérément d'atteindre l'instant décisif. Exposée aux Rencontres d'Arles en 2012, la photographe finlandaise se consacre au portrait. Elle conjure ainsi le temps qui passe et garde ses clichés comme autant de souvenirs de ces moments d'une forte intensité émotionnelle avec les personnes qu'elle a rencontrées.
Photography has been called "nature's pen," for it is incomparable in its ability to capture and keep images of the world on paper. It therefore makes sense to associate this medium mainly with figurative images. Three museums would like to clear up this misunderstanding in this book. At its centre is today's multifaceted, imaginative abstract photography, which fluctuates between analogue and digital images. This publication compiles non-figurative works of photography to create a comprehensive, fundamental survey. Here, famous fine art photographers such as Wolfgang Tillmans and Thomas Ruff meet exciting, newly discovered photographers.
Charlotte March was one of the leading international fashion photographers from the 1960s to the 1980s. The major retrospective at Deichtorhallen Hamburg lays the foundation for the rediscovery of the iconic photographer's oeuvre and offers a comprehensive overview of all of her creative periods for the first time. From her hitherto little-known early work, relating to the "Humanist Photography" movement, that reveals her sensitive eye for the margins of society in post-war Hamburg, took her to wholly unglamorous places, to her journeys to Italy in the 1960s, as well as her highly influential fashion and advertising photography. The narrative of her imagery for magazines such as twen, Stern, Harper's Bazaar, Vanity Fair, Elle, and Vogue reveals an emancipatory attitude and evoke the notion of a new lifestyle and the social upheaval of the 1960s. The exhibition and catalog illuminate March's multifaceted work and attest to her status as one of the most important female photographers of the second half of the 20th century.
The photobook visually and materially contextualizes arrangements of photographs and brings them into a sensually tangible form. The book format, the materiality of the paper, and the type of binding have just as much effect on the viewer as the selection of images, their positioning in the layout, typography, and texts. The artist and theorist Bettina Lockemann provides an approach to the medium from a research perspective: considering the photobook as an independent subject of art studies, phenomenological discussions complement methodological lines of thought. An important contribution to the photobook as an independent field of research, Lockemann elaborates precise terms for analyzing this medium of renditions. Through a practice-based examination of contemporary photobooks, this reader gets to the root of the field of photo books.
Revolution est un travail de longue haleine réalisé pendant les années 1980 et 1990 et exposé à Munich jusqu'en février 2013. Le photographe japonais y saisit plusieurs fois des paysages nocturnes en étudiant l'évolution de la lumière lunaire. En plaçant ensuite ses images noir et blanc à la verticale, il les fait basculer dans l'abstraction.
En 1965-1966, des soldats des patrouilles de la frontière est-allemande furent chargés de photographier plus de quarante kilomètres du Mur à l'intérieur de Berlin et produisirent plus de 300 vues panoramiques en direction de Berlin-Ouest. Ces clichés sont présentés et légendés ici pour la première fois, accompagnés de portraits de soldats, de rapports sur des tentatives d'évasion et d'essais sur l'évolution architecturale du Mur de Berlin.
Depuis 25 ans, le photographe anglais Tom Hunter s'attache à immortaliser la vie de son district, Hackney, ancien quartier industriel de Londres peu à peu investi par les artistes à partir des années 2000. The Way Home présente plus d'une dizaine de ses séries photographiques dont la très remarquée Persons Unknown qui revisite des tableaux de Vermeer.
L'exposition Untitled Horror retrace l'ensemble de la carrière de l'artiste Cindy Sherman, depuis sa première série de photographies Film Stills à ses travaux les plus récents. Présentée d'abord à Oslo (04/05-22/09) l'exposition voyagera ensuite à Stockholm puis à Zürich.
The Nature of Being est le sixième volume de la série de livres sur l'école d'Helsinki. Il vise à rassembler les différentes approches utilisées par les représentants de l'école pour conceptualiser visuellement la nature. Les photographies reflètent un sens nordique des sentiments de solitude, de jalousie ou de désir. Les oeuvres fournissent un aperçu photographique de l'horizon complexe des émotions qui caractérise nos vues individuelles de la nature. Ils ne représentent pas le paysage en tant que tel, mais le monde dans lequel nous vivons.
Highways are more than mere traffic routes - they are symbols of speed and mobility; in 1930s Germany, they served propaganda purposes. Today they are central infrastructures. In this volume, photographer Michael Tewes devotes himself to the roads that have relentlessly carved paths across our country and through its nature, as well as to their special architectures. Otherwise more of an entertaining staging post for people on their way to a destination, Tewes brings the highway into our conscious perception and shows it as an architectural building form in its own right. This monograph is the result of a six-year project and is published in parallel with the exhibition at the Deutsches Museum in Munich.
Turning what architect Rem Koolhaas famously referred to as "junkspace", the spatial flotsam of the Anthropocene, into candy-coloured dreamscapes, George Byrne depicts the gritty urbanism of Los Angeles in sublime otherworldliness. Arriving a decade ago, the Australian artist was immediately enthralled by the sprawling cityscape, mesmerized by the way the sunlight transformed it into two-dimensional, almost painterly abstractions, underpinned by a distinctive pastel color palette. Extending his practice beyond the confines of the lens by extracting elements from various images, his series Post Truth dwells in the liminal space between real and imagined. Reassembling the urban landscape into striking, ascetic collages of color and geometric fragments, Byrne creates postmodernist oases in the metropolis that masterfully harness the malleability of the photographic medium. Byrne's compositions evoke associations with Miami Beach's Art Deco, the Memphis Group's designs, as well as the work of David Hockney or Ed Ruscha, and at the same time tap into the specific aesthetics of today's visual culture played out on Instagram. They are filled with a sense of suspended reality-and never fail to convey a feeling of joy.
Porodina's early years were impacted by the brutalist buildings in Moscow and her mother who introduced art to Porodina's mind. Stored in her subconscious, art is what became the extension and expression of "her self", implying that every single one of her photographs is a self-portrait. Art became-and still is-an inevitable, and inseparable, part of her. Porodina's academic upbringing in post-Soviet Russia and her interest in emotional behavior led her to study clinical psychology.This background and her striving towards greater understanding of herself, her environment and others, informed her move to photography. It became a frame by which she is not limited-photography is just another medium to her that allows to stimulate the mind by showing, rather than by speaking, since the subconscious is not verbal either.
Depuis la fin des années 1980, les arts visuels se sont fortement développés en Corée du Sud, suivant la courbe de croissance économique, donnant naissance à une nouvelle génération de photographes. Les 65 artistes choisis dans ce volume ont pour point de commun de représenter, chacun à sa manière, les changements sociaux et culturels de leur pays via la photographie. Avec les photographies de Bien-U Bae, Sungsoo Koo, Soonchoel Byun, Sanghyun Lee et bien d'autres.
