Pour la première fois réédité en format poche L' Atlas des Régions Naturelles Vol.2 est le second tome d'une aventure photographique singulière, autant par ses dimensions que par sa durée. Commencée il y a cinq ans, son ambition est de documenterde manière égale les 450 régions naturelles ou "pays" composant le territoire français. Le terme "région naturelle" ou "pays" désigne des territoires de petites tailles dont les limites renvoyant à leurs caractéristiques naturelles sont - par opposition aux départements administratifs issus de la Révolution - difficiles à tracer. Né d'une volonté de documenter l'architecture vernaculaire française et, plus largement, de représenter un territoire dans toutes ses nuances, l'Atlas des Régions Naturelles devient une entreprise de relevé photographique titanesque.
Réedition en format broché du troisième volet de l'Atlas des Régions Naturelles d'Eric Tabuchi et de Nelly Monnier. Les deux artistes poursuivent leur projet au long cours engagé en 2017 : la documentation globale des 450 régions naturelles - ou « pays » - qui composent le territoire français. Une aventure photographique hors normes destinée à se déployer sur plusieurs années. En 384 pages et plus de 500 images, l'Atlas des Régions Naturelles Vol. 3 réunit 12 « portraits » de régions naturelles, ponctués de 4 entrées thématiques. Comme chaque tome, l'ouvrage est accompagné d'une carte en guise d'index glissée en fin de volume. Chapitres du troisième volume : Pays d'Auge, Brie, Camargue, Architecture d'entraînement, Cézallier, Combrailles, Côte des Bar, Discothèques, Pays de Montbéliard, Outre-Forêt, Revermont, Géométrie publique, Rochefortais, Pays de Serres, Pays toulousain, Infrasculptures.
Faisant suite à Atlas of Forms, livre paru en 2017, puis aux 4 premiers volumes de l'Atlas des Régions Naturelles, Atlas of AI Forms complète une trilogie des Atlas dont le sujet est autant l'architecture au sens large que l'image dans ses différents modes de production et de diff usion. Si le premier ouvrage utilisait l'internet comme source principale, et si à l'inverse le second explore les réalités locales de la France contemporaine, Atlas of AI Forms se propose d'expérimenter l'intelligence artificielle comme outil de représentation du réel. Une plongée en profondeur dans les arcanes de Midjourney et plusieurs centaines d'heures de travail auront été nécessaires pour produire le millier d'images courant sur les 320 pages d'Atlas of AI Forms. Le livre se propose, au delà de l'étonnement ou du rejet que suscitent ces images d'un genre nouveau, de vérifi er dans quelle mesure l'intelligence artifi cielle peut remettre en cause notre façon de regarder et, par delà, de percevoir le réel pour fi nalement formuler l'hypothèse que cette vision modifi ée modèlera les formes à venir de l'architecture mais aussi du design, de la sculpture ou de la peinture plus encore que celles de la photographie.
A visual celebration of the eminent photographer's most significant works collects four hundred chronologically arranged, essay-complemented pieces, from his first landscapes of Yosemite and the High Sierra in 1916, to his depictions of national parks in the 1940s, to his last achievements from the 1960s. 125,000 first printing.
"For Blue there are no boundaries or solutions." -Derek Jarman.
Originally released as a feature film in 1993, the year before the acclaimed artist and filmmaker Derek Jarman's death due to an AIDS-related illness, Blue is a daring and powerful work of art. The film - and this highly-anticipated book's text - serve as iconoclastic responses to the lack of political engagement with the AIDS crisis.
Written poetically and surrealistically, Jarman's text moves through myriad scenes, some banal, others fantastical. Stories of quotidian life--getting coffee, reading the newspaper, and walking down the sidewalk--escalate to visions of Marco Polo, the Taj Mahal, or blue fighting yellow. Facing death and a cascade of pills, Jarman presents his illness in delirium and metaphors. He contemplates the physicality of emotions in lyrical prose as he grounds this story in the constant return to Blue - a color, a feeling, a funk. Michael Charlesworth's compelling introduction brings Blue into conversation with Jarman's visual paintings as never before.
A book-length essay about photography's unique ability to ease the ache of human mortality.
Drawing on the writings of Wallace Stevens, Marilynne Robinson and other poets, artists, musicians and thinkers, Brooklyn-based photographer Tim Carpenter (born 1968) argues passionately--in one main essay and a series of lively digressions--that photography is unique among the arts in its capacity for easing the fundamental ache of our mortality; for managing the breach that separates the self from all that is not the self; for enriching one's sense of freedom and personhood; and for cultivating meaning in an otherwise meaningless reality.
Printed in three colors that reflect the various "voices" of the book, the text design follows several channels of thought, inviting various approaches to reading. A unique and instructive contribution to the literature on photography, Carpenter's research offers both a timely polemic and a timeless resource for those who use a camera.
The main characters in his photographs are the weak, the disowned and all of those who struggle on a daily basis to survive. This book brings together images of workers breaking up boats, abandoned refugees, amateur boxers, garbage collectors in dumps and members of armed gangs among other subjects. Since 2006 Javier Arcenillas has been working on an essay about violence in Central America. His photographs document pain, desperation, impotence and fear. His first works to gain recognition were Sicarios ("Hitmen") and Nota roja ("Red note"), both installments of his trilogy about death in El Salvador, Mexico, Honduras and Guatemala, followed by Latidoame rica, its final part, the focus of which shifts to the tales of the victims of the indiscriminate violence prevalent in Honduran society. A number of these photographs have appeared in these countries' newspapers. The group of photographs included in this book goes a long way to define Arcenillas's work: striking images with a precise narrative discourse stir powerful emotions in the viewer.Shooting in black and white, making use of the close-up to introduce his scenes and playing with only partially focused subjects he arrives at his individual and feisty vision.
Since 1983, photographer Miguel Bergasa (born 1951) has made 27 trips to Latin America, undertaking an in-depth exploration of the various cultures of each country in which he chooses to work. This PHotoBolsillo volume introduces his work.
The collective began taking shape round about 2004 when a series of meetings were organized, with an open and diverse set of guidelines, in which a number of photographers exhibited their work, sharing a common vision on photography and creation. Shortly thereafter the members of the core group decided to make a joint effort to create an "unconventional" agency which would rely on no external bodies but rather be rigorously autonomous, creating a platform of its own. From that point onwards the collective has grown, proving that more than an agency NOPHOTO is an "attitude". This book brings together a series of photographs by its current members but also by those who were part of the collective at some point, before carrying on with their solo careers: Jorquera, Paco Go mez, Eva Sala, Juan Santos, Juan Valbuena, Carlos Sanva, Juan Milla s, Tanit Plana, MartaSoul, Mati as Costa, Jona s Bel, Rafael Trapiello, Carlos Luja n, Eduardo Nave and In aki Domingo.
Over the course of his life, Argentine photographer Tito Caula (1926-78) built an oeuvre of several thousand portraits, landscapes, film stills and more, in a variety of formats. This issue of PHotoBolsillo attests to the artist's interest in research, innovation and technology.
This PHotoBolsillo reviews the work of one of the greatest figures of Latin American photography, Alberto Korda. Cardinal figure in the history of Cuban art, Korda is much more than the author of the famous photograph of Che Guevara reproduced countless times all over the world. If the collective epic Cubans lived in the sixties has been identified worldwide through a universe of images of inescapable singularity, this was due to the tact, perseverance and talent of artists like him, who learned to build the visuality of this revolution. This volume shows some of his lesser known facets, such as his portraits of women and his underwater photography series
Spanish photographer Aitor Lara (born 1975) addresses sociocultural values and identity, working in such countries as Africa, India, Uzbekistan and Spain. This issue celebrates his black-and-white portraits of different communities, ranging from indigenous peoples around the world to impoverished neighborhoods in southern Spain.
Jean Marie del Moral started his career in the 1970s, when he photographed the social movements that were taking place in France and the Carnation Revolution in Portugal for left-wing newspapers. After, he started capturing the studios of famous artists beginning with Joan Miró's in Palma (Spain) in 1978. From then on, he would follow the imagery of countless Spanish and international artists. His work has been published in prestigious international magazines. His first solo exhibitions took place in 1987 and 1988. He has also directed documentaries on Pablo Picasso and Miquel Barceló.
Dans la série Aperture Reader, ce volume 1 de Lives of the Images est conçu pour répondre aux besoins des étudiants et des amateurs dans le champ de la photographie contemporaine. Il rassemble une série d'essais sur les perspectives contemporaines de la photo. Considérant à la fois l'image comme un outil de libération et de répression dans nos sociétés, Repetition, Reproduction, Circulation interroge les différents cycles de vie de l'image, ses modes de diffusion, de réception, de consommation et d'aggrégation ainsi que la signification de sa reproduction technologique pour les formes de vie sociale, culturelle et politique.
Le photographe argentin Marcos López (né en 1958) met en scène ses modèles dans des photographies grand format aux couleurs vives qui parodient et critiquent avec humour la société (principalement la société argentine). Ce volume donne un aperçu des trois décennies de photographie extravagante et acerbe de ce photographe autodidacte.
Female sexuality is the central theme in the photographs of the Catalan Laia Abril. With their warm feel of a family documentary, her images dislocate viewers, who find themselves suddenly trapped in the intimacy of others and required to take a stance on uncomfortable realities that remain veiled in society. Abril combines photography with other multimedia tools, such as video and graphic design, in a work in progress which La Fábrica attests to in its PHotoBolsillo collection.
Cette édition de la série de La Fábrica PHotoBolsillo célèbre le réalisateur de la collection - journaliste et photographe espagnol Chema Conesa (né en 1952). Conesa a travaillé pour El País et El Mundo , les journaux les plus importants d'Espagne, mais il privilégie l'art du portrait.
