Fotografi

Fugue by Lydia Goldblatt is a body of work about love and grief, mothering and losing a mother, intimacy and distance, told through photographs and writing.

¿ Hilarious motifs¿ Perfect gift for a friend¿ Unique collection

Re-creating the Citadel and the Photographs of Kaveh Golestan is a political archaeology of a little-known crime committed in the early days of the nascent Islamic state in Iran in 1979. The starting point and artistic core of the book are sixty-one photographs taken between 1975 and 1977 by photographer Kaveh Golestan, who documented Tehran's red-light district a few years before it was violently set ablaze and wiped from the urban landscape and social memory. The book recovers the site and the social and spatial experiences associated with the area: its relationship to human life, the polis, social aesthetics, politics and dynamics, and the relationship between marginal and metropolitan citizenry. The project restores it to social memory and the public domain as a catalyzing moment in the establishment and preservation of a state-imposed project of violence against citizens and history itself. KAVEH GOLESTAN (1950-2003) was an Iranian photojournalist and artist. The first exhibition of the recovered material curated by Vali Mahlouji was showcased at the Foam Museum of Photography, Amsterdam (2014), and then traveled to the Musée d'art Moderne, Paris and MAXXI Museum, Rome (2014 2015). Consequently, the materials toured Photo London Fair (2015), Tate Modern, London (2017-18), Rohtas Gallery2, Lahore (2020), De le Warr Pavilion (2019), and Arnolfini (2019-2020). Tate Modern acquired the project in 2016.

Arnell's take on the world has had a significant impact on the history of design. As a branding expert, as a creative mind, as a source of ideas in the fields of fashion, beauty, lifestyle, and architecture. He has directed global campaigns, designed iconic products, and advised well-known personalities. Often his photographs not only provide the blueprint for entire marketing strategies, but also create their own trends, such as the Brooklyn Bridge , which became the signature image for the then newly founded DKNY label. Peter Arnell is a master of images and a designer of his environment, both aesthetically and conceptually. City Visions focuses on Peter Arnell's urban photographs. Although most were taken in NYC, they are more about the idea of the city: light and shadow, about shapes and contrasts-a poetic-abstract visual flux of images that is a pleasure to the eye. PETER ARNELL (*1958, Brooklyn, New York) began his career with Robert A.M. Stern and Michael Graves, where he supervised various book publications. In 1980 he founded Arnell/Bickford, specializing in design, branding, and product development. He has created campaigns for Samsung, Chanel, Gucci, Pepsi, Reebok, Chrysler, Nespresso, and the Special Olympics. His New York Times bestseller Shi ft: How to Reinvent Your Business , YourCareer, and Your Personal Brand was published in 2010. HatjeCantz published a major survey of his work in 2022: Peter Arnell,Portfolio, 1980-2020 .

First Published in 1953, Geography from the Air is the first book in English to explain and illustrate fully the use of air photographs in the study of geography. The book consists of nearly 100 high quality air photographs, selected from almost every part of Britain.

"What is the relationship between peace and photography? How are artists and curators motivated to convey narratives of peace and not just stories of war? Does the digital afterlife of iconic images reveal societal shifts towards conflict transformation? Providing interdisciplinary and international perspectives on important research questions, Picturing Peace explores issues of identity construction, collective memory, and imagined futures in the creating and sustaining of civil societies. How things look and are perceived are not superficial issues; when it comes to war and conflict, photography is vitally relevant not only to fomenting violence, but also to rebuilding peaceful societies"--

Il magazine 'ToiletAlex PaperPrager' nasce dall'incontro tra il mondo visionario di 'Toiletpaper' e l'immaginario sconcertante di Alex Prager, artista, regista e sceneggiatrice americana. La rivista presenta un back-to-back di dodici immagini di Alex Prager e dodici di 'Toiletpaper': l'estetica accattivante, i colori forti e i cortocircuiti visivi propri di 'Toiletpaper' amplificano il mondo di Prager e viceversa. Il sottile confine tra realtà e finzione che l'artista indaga attraverso un uso peculiare di archetipi, oggetti del quotidiano, humor e allegorie, è al centro di un'esplorazione ambigua e seducente. 'ToiletAlexPaperPrager' fa seguito a 'ToiletMartin PaperParr', la speciale edizione che nel 2018 ha raccolto le immagini più iconiche dei prolifici archivi dell'artista di fama internazionale Martin Parr e del duo Cattelan-Ferrari.

Francesco Gioia's collection, "57," rejoices in the undiluted magnificence of the photographic medium. In the vast expanse of photographic expression, Gioia's work stands as a bridge between palpable reality and fleeting dreams. Each frame is a story echoing with the hustle and bustle of street life, capturing fleeting moments that, in the grand tapestry of existence, might seem inconsequential. Yet, through Gioia's lens, they become profound, with a universal resonance. They remind us that even in the commonplace, there exists a depth of story, emotion, and humanity. Gioia's philosophy is encapsulated in his belief that beauty in today's world often goes unnoticed, lurking in the corners, waiting for the discerning eye to uncover it. "True beauty," he says, "when it appears today, remains concealed, shining from unexpected places." With every photograph, Gioia challenges us to seek out these hidden gems, to truly see, and in doing so, discover the concealed wonders around us.

The mouthwatering photos in this artistic coffee-table book take you all around the world to some of most enchanting homes and retreats close to the sea.

Romain Laprade is a French photographer. After his studies, he first worked at Vogue Paris magazine as a graphic designer and then at Holiday magazine, but his passion for photography, which has inspired him since the age of 15, finally led him to make it his job. The photographs of Romain Laprade evolved in a few years into a subtle and intriguing visual signature. His style stands out by focusing on banal details that he transforms into iconic images. His warm tones, his sense of composition and his solar work also interest brands in the constant quest for novelties and help to make them recognised through various publications. (Aesop, Rimowa, Mr Porter, Hermes, Isabel Marant, ...). Romain Laprade freezes lines and surfaces through his own aesthetic and photographic vocabulary, often drawn from modernist architecture. The anodyne details, minimalist compositions, marked lights, which he accumulated over the last 5 years in many photographs, are capable of providing an exquisite and poetic look on the world.

This beautiful compilation of exquisite photographs from around Australia showcases Lisa Michele Burns' talent for noting the details of nature and her ability to discern patterns hidden within the landscape.

A book of 65 black and white photographs showing Singapore's landscapes in a unique way. Although Singapore is called the Garden City, it's image is of a modern metropolis. This book dispels that myth by showcasing Singapore's landscapes.

Paris ist die Stadt des Lichts in all seinen Facetten. In den 1920er Jahren leuchtet La Ville des lumières besonders hell und wird zum Mekka für Kreative aus aller Welt . Es ist das Jahrzehnt von Coco Chanel und Joséphine Baker, Art Deco und Surrealismus, Cafékultur und Kabarett. Die berühmtesten Künstler der Epoche, die später Klassische Moderne genannt wird, stehen in regem Austausch miteinander - darunter Marcel Duchamp, Francis Picabia, Pablo Picasso, Re¿ne Clair, Sonia Delaunay, Andre¿ Breton, Paul E¿luard, Max Ernst und Salvador Dali¿ . Das kreative, sexuell ausschweifende Leben boomt - Bohème ist das Wort für diese Lebensweise. Komponisten wie Igor Strawinsky , Dichter wie James Joyce oder Ernest Hemingway und Exilanten aus dem Osten wie Constantin Brancusi oder Marc Chagall bereichern die illustre Szene am Montparnasse und tragen dazu bei, dass die Moderne sich in kürzester Zeit zu ihrem Höhepunkt aufschwingt. Dieser Band wirft Schlaglichter auf über 30 herausragende Werke aus Architektur, Malerei, Bildhauerei, Film, Fotografie, Design und Mode , darunter Fotografien von Brassaï und Man Ray, Giacomettis surrealistische Schwebende Kugel , Bunuel/Dalís Andalusischer Hund , Picassos anmutiges Drei Frauen an der Quelle oder die Erfindung der Eleganz im Kleinen Schwarzen von Coco Chanel. Das Aufblühen von Kreativität, Vielfalt und savoir vivre machen Paris bis heute zum Sehnsuchtsort von Nachtschwärmern, Genießern und Liebhabern der schönen Künste.

A new photo book journeys into the fragile landscapes and everyday lives of WLT partners in Argentina's Patagonia. '100% (Ciento por Ciento)' is the latest book of photographs by Colin Dodgson made in partnership with the World Land Trust. It captures the trip that Colin made in the company of WLT Ambassador Jonny Lu to two WLT-funded wildlife reserves in Southern Argentina. "All species deserve to exist, no matter how insignificant they may seem", Jonny Lu, WLT Ambassador. This is the second book that Jonny and Colin have collaborated on with WLT, having produced Deeper Green in 2019 which focused on Belize's rainforests. Whilst scientists have their own - often high tech - ways of documenting nature, Colin uses an analogue camera to capture the environment around him. 100% portrays the subtle details of nature conservation work that are not often seen; from messy office desks and dirty car windows to rangers playing saxophone. Rocks that speakSomancurá is an indigenous Mapuche word, meaning "the rock that speaks". 100% illustrates the character of La Meseta Somuncurá, the vast volcanic rock plateau where WLT partner Fundación Hábitat y Desarrollo work. A windswept landscape with "horizon in every direction", it communicates stories of evolutionarily distinct species. The El Rincon Stream Frog (Pleurodema somuncurense), is a muse for the book and is what you see on opening the first page. Its survival hangs in a delicate balance. The frog, alongside the small thumb-sized Naked Characin fish also featured in the book, have evolved to survive only in the Valcheta which is constantly heated by hot springs. The breath of whalesThe other key location for many of the book's images is the Estancia La Esperanza nature reserve. Situated along the coast, the intense blue sea and rhythmic waves are a contrast to the dusty, orange tones of the Somuncurá Reserve. 100% contains images of the charismatic research station where Fundación Patagonia Natural monitors the migration of Southern Right Whales.

Out of Order is a collection of images I found between 2008 and 2013 on office liquidations websites that buy the entire stock of furniture from offices going out of business. Among the offerings of used office desks for sale are the office plants whose job it was to make office employees feel more human - to give them something to care for in these synthetic modular spaces. The objects pictured in these images are the aftermath and by-products of a Modernism infused with a disparity between free market optimism and its dystopic result.

The starting point of Laurence Aëgerter's facsimile Cathédrales, is the 1949 catalogue Cathedrals and churches of France, published by the Ministry of Public Works, Transport and Tourism. The artist placed the book by the window in her studio and allowed the incidence of natural light to impact a reproduction of the façade of the Saint-Étienne cathedral in Bourges. She photographed the book every minute during two hours, obtaining 120 photographs of light variations upon this unique image. The play of shadow and light of the Gothic architecture in the orignal photograph, is superimposed by a new shadow that slowly glide on the cathedral and, imperceptibly but irreparably, swallows it up. Aëgerter's photographs contain thus three stratified layers of times : the 12th century, 1949 and 2012. Cathédrales presents a photographic sequence and as we turn the pages, we are aware of the temporal dimension of this visual exploration, a metaphor of transcience.

Landscapes presents a previously unpublished series by Marina Gadonneix who, over years of research, has brought together a collection of singular images: blue or green overlays, used as neutral backgrounds for special effects in cinema and on television. Images between abstraction and figuration, place and non-place, fullness and emptiness, these landscapes, once subtracted from their matrix, may only be considered as images in their abstract representation. And these are indeed landscapes in the accompanying fiction, "Blackout," a text written for the series of images by Marcelline Delbecq. Between fiction and reality, real landscapes and mental landscapes, vision and drifting, the text, in its written form as well as in its form as a soundscript, may either add to or take away from the images, whose visual impact appeals to what's happening off screen as well as to what is beyond consciousness.

This publication brings together a series of images portraying sisters Marie and Lucie Cornil, wearing garments from their grandmother's archive, Genevieve G. A photographic project realized by Ewa Kluczenko and Patrick Bienert. Edited by Florine Bonaventure.

Vivier met Sophie through a casting agent around four years ago. "I was looking for a very athletic woman for a photoshoot," she recounts. "When I met Sophie, I was not only fascinated by her powerful, sculptural body but I was also drawn to her face which is sweet, feminine and tender. I felt that Sophie had a lot to say through her bodybuilding practice - it is, or at the time was, a reconstruction of herself in both an allegorical and a physical sense. "Sophie embodies many of the qualities that the photographer seeks to convey through her work: the architectural nature of the bodybuilder's form encapsulates both the subject and object dynamic that so intrigues Vivier, while simultaneously blurring the boundaries between preconceived notions of femininity and masculinity. "I felt that by reshaping herself with a very intimate, strong and personal motivation to feel good and comfortable with her own image, Sophie was reshaping the criteria of what the feminine body is supposed to be. " (Another Magazine)

F#1-13 is a collection of photographs, sculptures, wind barbs and texts around a gridded flag that blew for thirty-nine days in Citadel Park, Ghent (Belgium). The flag was photographed every third day. A wind sensor, attached to the flagpole, measured the wind direction and speed. The results of the measurements - taken at the same instant as the photographs - were plotted out using wind-barbs. Texts were written based on phenomena, dialogues, manuals, revelations and data along the side-lines of the process of capturing the flag. The uppercase, italicized and sans serif F in the title of this book refers to a north-northeasterly wind of 20 knots coming from the direction of the flag and passing exactly between two nearby museums. This book is made with the kind support of the Cultural Department of the City of Ghent, School Of Arts/KASK, Ghent and Smoke & Dust/019.

The tension between the real world and the parallel world is intensified in these perplexing portraits of morphsuits. The design and theatricality of public space extends into the private realm. Self-design is a statement in the virtual arena that is the Internet. How do I present myself to the other's gaze? Which lifestyle do I use to construe an imaginary identity? How can I become someone else? In their Zentai suits these morphers succeed in escaping from the obligatory, omnipresent perception, the pressure of being seen, all the time, everywhere. They are encapsulated and unrecognisable in a completely enclosed form, vanishing into a trans-human identity that suddenly infiltrates reality in the home or hotel room where Lybeer portrays them. - Inge Henneman

Dominique Somers' work 00A consists of a remarkable compilation of found images. The title of the series refers to the starting-point markings printed between the sprocket holes on the leader of a 35-mm photographic film. Somers has been collecting the first, automatic exposures made on this 00A frame of the negative strip for years. They are the result of a photographic practice that in today's digital age has almost become a form of archaeology: when positioning a roll of analogue film in the camera, one has to release the shutter a few times and wind a couple of frames forward to reach the starting position (1A) of the unexposed part of the spooled film. It is precisely these throwaway shots, made while loading the camera before the real work begins, that Somers has appropriated. The 00A image is given, not made. It is the antipode of the naïve, redundant photography of amateurs and journalists, the users of 35-mm cameras. As a series, 00A investigates the boundaries of the technical and conceptual identity of photography. With the support of the Flemish Government and KASK & CONSERVATORIUM School of Arts Gent