Manuel Álvarez Bravo
Accueil - Sebastiao Salgado
arja katariina hyytiainen photography
Martin Parr on Magnum
Reporters Without Boarders Martin Parr
Stéphane Burlot — [PHOTOBLOG]
Joel Meyerowitz on Phaidon
Taking My Time is the retrospective monograph covering the life and career of Joel Meyerowitz and provides you with an unprecedented insight into the mind and work of this iconic American photographer. This two-volume limited edition is presented in a slipcase and includes a signed print (Paris, France, 1967), a DVD of Meyerowitz’s award-winning film, Pop, a unique 'graphic novel' insert that tells the story of Pop and a second insert for Meyerowitz's lesson in colour versus black and white photography. Showing the growth and development of Meyerowitz and his photography from the 1960s to the present day, Taking My Time explores the pivotal points of Meyerowitz’s career and his experiments in both colour and black and white photography and explorations of human intimacy, architecture, light and space. Read more Taking My Time also covers his most recent work in Japan, Tuscany and the Legacy series in the parks of New York City, as well as the never-before-published series 'The Elements'.
Cyrus C. / Dolce Vita
PARTIE I Les villes sont comme des océans. Je suis venu à la photographie par le voyage. « Il permet d’échapper à une vision : celle de la stérile répétition des lieux, des gens et de soi-même» (Franck Michel). Après avoir rêvé des grandes forêts tropicales de la planète, je me suis mis à voyager dans les villes. Cet attrait pour les jungles urbaines me vient de la relation personnelle que j'entretiens avec. Comme un nouveau-né découvre le monde, je m’y engouffre nu, habité du « sentiment océanique ». Puis je « scanne » la ville, marche sans cesse et m’oriente en recomposant le territoire par points de repère : les traces, les liens, les vides, les charnières, les limites, les hauteurs, les lieux complexes… C'est une errance, une vision urbaine sans prétention d'objectivité, juste un prolongement de mon regard d'architecte. PARTIE II Voyage en Périphérie, Projet F14 « L’important ça n’est pas la destination, mais la déambulation ». « Voyage en périphérie » est une extraspection.
Kishin Shinoyama
Kishin Shinoyama, Phantom 2, © Kishin Shinoyama courtesy Michael Hoppen Gallery. Kishin Shinoyama, Phantom 3, © Kishin Shinoyama courtesy Michael Hoppen Gallery. Kishin Shinoyama, Phantom 1, © Kishin Shinoyama courtesy Michael Hoppen Gallery. Michael Hoppen Contemporary 3 Jubilee Place +44 (0)20 7352 3649 London Kishin Shinoyama l Nude January 14-February 20, 2010 Still hard at work well into his late 70s, Japanese photographer Kishin Shinoyama’s images have lost none of the potency that would make his 1960s nude studies so revered and sensationalized in equal measure. Shinoyama was born in Tokyo in 1940 and at the age of three underwent ordination rites to become a Buddhist priest. After leaving Light Publicity in 1968 to freelance, his creative energy and unique character and appearance made him a mass media star. Kishin Shinoyama, Dancer, 1 © Kishin Shinoyama courtesy Michael Hoppen Gallery. Kishin Shinoyama, Twin 1, 1969 © Kishin Shinoyama, Vintage silver gelatin print, 30 x 19.6 cm.
Lee Friedlander (American, born 1934)
American photographer. He first became interested in photography in 1948, and from 1953 to 1955 he studied under Edward Kaminski at the Art Center of Los Angeles. In 1956 he settled in New York and supported himself by producing photographs of jazz musicians for record jackets, for example Count Basie (1957; see Malle, pl. 39). Other works by Friedlander in the 1960s included the series of works that appeared in Self-portrait (1970). In 1979 Friedlander was commissioned by the Akron Art Museum to produce a photographic documentary of the industrial areas of the Ohio river valley, the results of which appeared in Factory Valleys: Ohio and Pennsylvania (1982). From Grove Art Online © 2009 Oxford University Press top
