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manuel alvarez bravo polaroids: Polaroids Manuel Alvarez Bravo, Manuel Álvarez Bravo, 2005 Previously unpublished Polaroid photographs by Manuel Alvarez Bravo reproduced in the original Polaroid's dimensions. |
manuel alvarez bravo polaroids: The Day-to-Day Life of Albert Hastings , 2007-07-05 This title chronicles the life of Albert Hastings, an octogenarian living alone in a small flat in Wales. Bert's writing is paired with Deveney's photographs and together they tell a story of fulfilment, lonliness, hope and beauty. |
manuel alvarez bravo polaroids: Manuel Alvarez Bravo. Polaroids Manuel Álvarez Bravo, Colette Álvarez Urbajitel, 2005 El poeta Xavier Villaurrutia describió a Manuel Álvarez Bravo como un san Dionisio moderno, un hombre que tenía la cabeza en las manos. Álvarez Bravo tomó fotografías constantemente en el transcurso de su larga vida, y siempre abierto a la experimentación, no menospreció la rapidez y la conveniencia de las cámaras Polaroid, cuando aparecieron en la década de 1960. Prologada con un texto conmovedor de la viuda del fotógrafo, esta selección de sus Polaroids en color descubre el lado juguetón y espontáneo del gran maestro mexicano de las luces y las sombras. |
manuel alvarez bravo polaroids: Manuel Alvarez Bravo Manuel Alvarez Bravo, 2008-10-29 Over 370 tritone photographs, arranged in broadly chronological order, mark Alvarez Bravo's remarkable eighty-year career. Strikingly poetic and richly resonant, the collection includes iconic images as well as over thirty previously unpublished masterpieces. Urban and rural scenes, still lifes, nudes, religious and vernacular subjects, portraits of luminaries including Diego Rivera, Frida Kahlo and Octavio Paz: all illustrate the peerless acuity of the photographer's eye. Above all, Alvarez Bravo's work celebrates his beloved Mexico, with its indigenous rituals and age-old customs.--Jacket. |
manuel alvarez bravo polaroids: Coming Through Slaughter Michael Ondaatje, 2011-03-23 Bringing to life the fabulous, colorful panorama of New Orleans in the first flush of the jazz era, this book tells the story of Buddy Bolden, the first of the great trumpet players--some say the originator of jazz--who was, in any case, the genius, the guiding spirit, and the king of that time and place. In this fictionalized meditation, Bolden, an unrecorded father of Jazz, remains throughout a tantalizingly ungraspable phantom, the central mysteries of his life, his art, and his madness remaining felt but never quite pinned down. Ondaatje's prose is at times startlingly lyrical, and as he chases Bolden through documents and scenes, the novel partakes of the very best sort of modern detective novel--one where the enigma is never resolved, but allowed to manifest in its fullness. Though more 'experimental' in form than either The English Patient or In the Skin of a Lion, it is a fitting addition to the renowned Ondaatje oeuvre. |
manuel alvarez bravo polaroids: Photopoetry Manuel Alvarez Bravo, 2008 This retrospective documents and celebrates the work of Manuel Alvarez Bravo, the most significant force in Mexican photography and one of the foremost visual arts practitioners of the twentieth century. Over 370 tritone photographs, arranged in broadly chronological order, mark Alvarez Bravo's remarkable eighty-year career. Strikingly poetic and richly resonant, the collection includes iconic images as well as over thirty previously unpublished masterpieces. Urban and rural scenes, still lifes, nudes, religious and vernacular subjects, portraits of luminaries including Diego Rivera, Frida Kahlo and Octavio Paz: all illustrate the peerless acuity of the photographer's eye. Above all, Alvarez Bravo's work celebrates his beloved Mexico, with its indigenous rituals and age-old customs.--BOOK JACKET. |
manuel alvarez bravo polaroids: Andre Kertesz the Polaroids Andre Kertesz, 2011-10-25 A powerful collection of the luminous last work by one of the true giants of twentieth-century photography. After the death of his wife, André Kertész consoled himself by taking up a new camera, the Polaroid SX70. As with earlier equipment, he mastered the camera and produced a provocative body of work that both honored his wife and lifted him out of depression. Here Kertész dips into his reserves one last time, tapping new people, ideas, and tools to generate a whole new body of work through which he transforms from a broken man into a youthful artist. Taken in his apartment just north of New York City’s Washington Square, many of these photographs were shot either from his window or in the windowsill. We see a fertile mind at work, combining personal objects into striking still lifes set against cityscape backgrounds, reflected and transformed in glass surfaces. Almost entirely unpublished work, these photographs are a testament to the genius of the photographer’s eye as manifested in the simple Polaroid. |
manuel alvarez bravo polaroids: Helmut Newton Françoise Marquet, 2016-05-04 Agent provocateur: Top shots from Helmut Newton Helmut Newton (1920-2004) is remembered as one of the most prolific photographers of the 20th century, channeling the sensuality and erotic power of his subjects with panache, precision, and impact. His aesthetic was uniquely his as much as it established a new image system for fashion and glamour. Joining TASCHEN's illustrious collection of Helmut Newton titles, including Helmut Newton Polaroids, Pages from the Glossies, and the spectacular Helmut Newton SUMO, this fresh edition of Helmut Newton: Work spans the stretch of Newton's career, with some of his most striking shots from the 60s through to his golden heyday. From shadowy street to hotel boudoir, it's a collection that showcases Newton's suggestive storytelling throughout his fashion, editorial, or personal pictures. Celebrity faces are there, caught in candid moments; Helmut's wife June lights a cigarette across the table; a bejewelled hand grabs a wodge of dollar notes; and the big nudes march on, in all their statuesque glory. Text in English, French, and German |
manuel alvarez bravo polaroids: Mexico Martin Parr, 2006 Parr considers the battle between vernacular and American visual culture, as played out on the streets of Mexico. It includes portraits of Mexican working men sporting baseball caps with American logos. |
manuel alvarez bravo polaroids: Polaroids Helmut Newton, 2011 Les polaroïds occupent une place à part dans le cœur de nombreux amoureux de la photographie qui se souviennent d'une époque où le cliché instantané signifiait une épreuve unique développée quelques minutes après avoir appuyé sur le déclencheur. Ce qui était autrefois un outil indispensable pour les photographes, leur permettant de tester leur composition avant d'imprimer la pellicule, a été rendu obsolète par la photographie numérique. Heureusement pour nous, le grand photographe Helmut Newton a conservé ses polaroïds, nous offrant l'occasion rare et privilégiée de voir la genèse d'un choix de ses plus belles images étalées sur plusieurs décennies et dont bon nombre ont été publiées par TASCHEN dans les albums SUMO, A Gun for Hire et Work. Rassemblées par sa veuve June Newton, ces images capturent la magie des séances de prises de vue d'Helmut Newton comme seuls les polaroïds peuvent le faire. -- Quatrième de couv. |
manuel alvarez bravo polaroids: Encyclopedia of Twentieth-Century Photography, 3-Volume Set Lynne Warren, 2005-11-15 The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included. |
manuel alvarez bravo polaroids: Paul's Book Collier Schorr, 2019 Collier Schorr met Paul Hameline, a young French artist and model, in New York in 2015. A friend of friend, he came to her home for a go-see, which is when a photographer gets to see how a model looks in front of the camera. Paul's family lives in the Marais section of Paris around the corner from the hotel Collier stays at while in Paris, so they began to meet and to make a project that lasted two years in which Collier would visit Paul at his parents' house and take pictures and talk. The idea was for Paul and Collier to experience photography as a social space, a conversation in which his body and her eyes could try and understand each other's fascinations and fantasies. Many of the pictures were published in 'Re Edition' magazine. 'Paul's Book' expands that magazine story to form a larger piece about the way in which a photographer and model can search for some greater revelations with the simplest movements and various states of undress. -- |
manuel alvarez bravo polaroids: Telling Tales René Paul Barilleaux, Auriel Garza, Gregory J. Harris, Lucy Soutter, 2016 Published on the occasion of an exhibition held at the McNay Art Museum, San Antonio, Texas, September 28, 2016-January 8, 2017. |
manuel alvarez bravo polaroids: Painted Nudes Saul Leiter, 2015 Saul Leiter (1923-2013) has been hailed as one of the great pioneers of 20th century colour photography. His body of work spans more than 70 years and is in the collections of many important museums. With the landmark publication of his monograph Early Color (2006) his work at last came to the fore. The book was followed by numerous exhibitions, the largest of which was a major retrospective at Deichtorhallen in Hamburg (2012). In 2013, Thomas Leach made In No Great Hurry, a full-feature documentary film about Saul Leiter and his work. But Leiter was more than a great photographer; he was and always had been a prolific painter, though this side of his creative life received far less attention. One strand among his paintings is noticeable: the art of painting over prints of nudes that he himself photographed and printed. This publication reproduces over eighty such painted nudes, created over a period of over forty years. This long overdue book sheds light on the vitality and originality of Saul Leiter s art and his mastery of colour. |
manuel alvarez bravo polaroids: Creative Enterprise Martha Buskirk, 2012-04-26 In the face of unparalleled growth and a truly global audience, the popularity of contemporary art has clearly become a double-edged affair. Today, an unprecedented number of museums, galleries, biennial-style exhibitions, and art fairs display new work in all its variety, while art schools continue to inject fresh talent onto the scene at an accelerated rate. In the process, however, contemporary art has become deeply embedded not only in an expanding art industry, but also the larger cultures of fashion and entertainment. Buskirk argues that understanding the dynamics of art itself cannot be separated from the business of presenting art to the public. As strategies of institutional critique have given way to various forms of collaboration or accommodation, both art and museum conventions have been profoundly altered by their ongoing relationship. The escalating market for contemporary art is another driving force. Even as art remains an idealized activity, it is also understood as a profession, and in increasingly obvious ways a business, particularly as practiced by star artists who preside over branded art product lines. |
manuel alvarez bravo polaroids: Eugene Richards Lisa Hostetler, April M. Watson, 2017 The first publication to situate the work of Richards in the long photographic tradition that merges personal artistic vision with documentary practice Eugene Richards (b. 1944) is a documentary photographer known for his powerful, unflinching exploration of contemporary social issues from the early 1970s to the present. This handsome book is the first comprehensive and critical look at Richards's lifelong achievements. Reproduced in tritone and color, the extraordinary images in this volume explore complicated and controversial subjects, including racism, poverty, drug addiction, cancer, aging, the effects of war and terrorism, and the erosion of rural America. The authors of the book situate Richards's work in the long photographic tradition that merges personal artistic vision with documentary practice, following in the tradition of W. Eugene Smith and Robert Frank. Distributed for The Hall Family Foundation in association with The Nelson-Atkins Museum of Art and the George Eastman Museum Exhibition Schedule: George Eastman Museum, Rochester (06/10/17-10/22/17) The Nelson-Atkins Museum of Art, Kansas City (12/09/17-04/15/18) |
manuel alvarez bravo polaroids: Decolonizing Diasporas Yomaira C Figueroa-Vásquez, 2020-10-15 Mapping literature from Spanish-speaking sub-Saharan African and Afro-Latinx Caribbean diasporas, Decolonizing Diasporas argues that the works of diasporic writers and artists from Equatorial Guinea, Puerto Rico, the Dominican Republic, and Cuba offer new worldviews that unsettle and dismantle the logics of colonial modernity. With women of color feminisms and decolonial theory as frameworks, Yomaira C. Figueroa-Vásquez juxtaposes Afro-Latinx and Afro-Hispanic diasporic artists, analyzing work by Nelly Rosario, Juan Tomás Ávila Laurel, Trifonia Melibea Obono, Donato Ndongo, Junot Díaz, Aracelis Girmay, Loida Maritza Pérez, Ernesto Quiñonez, Christina Olivares, Joaquín Mbomio Bacheng, Ibeyi, Daniel José Older, and María Magdalena Campos-Pons. Figueroa-Vásquez’s study reveals the thematic, conceptual, and liberatory tools these artists offer when read in relation to one another. Decolonizing Diasporas examines how themes of intimacy, witnessing, dispossession, reparations, and futurities are remapped in these works by tracing interlocking structures of oppression, including public and intimate forms of domination, sexual and structural violence, sociopolitical and racial exclusion, and the haunting remnants of colonial intervention. Figueroa-Vásquez contends that these diasporic literatures reveal violence but also forms of resistance and the radical potential of Afro-futurities. This study centers the cultural productions of peoples of African descent as Afro-diasporic imaginaries that subvert coloniality and offer new ways to approach questions of home, location, belonging, and justice. |
manuel alvarez bravo polaroids: Harvard Works Because We Do Greg Halpern, 2003 Photographs of custodial, maintenance, and food service workers of Harvard University are accompanied by brief statements by those pictured, including Bill Brooks, janitor to three university presidents and David Noard, security guard at the Fogg Art Muse |
manuel alvarez bravo polaroids: Affairs of the Heart Bruce Weber, 2014 Over the past thirteen years, the photographer and filmmaker Bruce Weber has published the book series All-American, an independent portfolio of work by artists, photographers, essayists, poets, and personalities whose lives and accomplishments warrant celebration. The latest volume in the series, 'Affairs of the Heart', is again a collection by Weber that is motivated equally by admiration and a desire to connect. Sometimes the subjects are already well known in their own right, but just as often the participants are relatively unknown, noteworthy because their stories or accomplishments reveal something that resonates on a deeper, more personal level. 'All-American XIV' tries to gain insight into the hearts of the true characters of the American landscape. Whatever affair of the heart it might be, this volume will discuss them all. SELLING POINTS: * The All-American series is a curiosity cabinet of the contemporary American vernacular, seen through the lens of one of its quintessential image makers * Compelling for current collectors of the series, as well as admirers of contemporary photography 200 colour and duotone photographs |
manuel alvarez bravo polaroids: Bernd & Hilla Becher Thierry De Duve, 2020-09-22 An elegant new edition of Bernd and Hilla Becher's classic black-and-white photographic study of industrial buildings. During their 40-year career, Bernd and Hilla Becher created their own architectural typology as they photographed buildings in a unique style. Basic Forms represents the culmination of their career. Although the subject matter is unglamorous--mine shafts, blast furnaces, cooling towers, water towers, silos, and gas tanks--the Bechers' passion for their work imbues these photographs with beauty and solemnity. The Bechers restricted the conditions of each photograph--taking them early in the morning, on overcast days, so as to eliminate shadow and distribute light evenly. Each image is centered and frontally framed, its parallel lines set on an even plane. There are no human figures, nor are there birds in the sky. The result is a treasury of precisely functional architectural forms, a sublime example of conceptual artistic practices, and a series of perfect sculptures of a bygone industrial age. |
manuel alvarez bravo polaroids: Beyond the Fantastic Gerardo Mosquera, 1996 Copublished with the Institute of International Visual Arts, London. This anthology, edited by Cuban art historian and critic Gerardo Mosquera, offers a wide selection of writings by some of the most important cultural theoreticians of contemporary Latin America. Together they comprise a distinctive corpus of new theoretical discourses, critical of modernity and solidly and pragmatically anti-utopian. The collection balances traditional and popular aesthetic-symbolic production as well as Afro- and Indo-American presences in the visual arts, and covers the whole of the Americans, including the Caribbean and the United States.Contributors: Mó(R)(c)£a Amor. Pierre E. Bocquet. Gustavo Buntinx. Luis Camnitzer. Né3 ́or Garcí¡ Canclini. Ticio Escobar. Andrea Giunta. Guillermo Gó- °-Peñ¡(R) Paulo Herkenhoff. Mirko Lauer. Celeste Olalquiaga. Gabriel Peluffo Linari. Carolina Ponce de Leó(R)(R) Mari Carmen Ramí2 z. Nelly Richard. Tomá3 Ybarra-Frausto. George Y?. |
manuel alvarez bravo polaroids: The Original Copy Roxana Marcoci, Geoffrey Batchen, Tobia Bezzola, 2010 Published in conjunction with the exhibition The original copy: photography of sculpture, 1839 to today, at the Museum of Modern Art, New York (August 1-November 1, 2010)--T.p. verso. |
manuel alvarez bravo polaroids: Message from the Darkroom Carlo Mollino, 2006 When it was first published in 1999, Crimes Against Humanity called for a radical shift from diplomacy to justice in international affairs. In vivid, non-legalese prose, leading human rights lawyer Geoffrey Robertson made a riveting case for holding political and military leaders accountable in international courts for genocide, torture, and mass murder. Since then, fearsome figures such as Charles Taylor, Laurent Gbagbo, and Ratko Mladic have been tried in international criminal court, and a global movement has rallied around the human rights framework of justice. Any such legal framework requires constant evolution in order to stay relevant, and this newly revised and expanded volume brings the conversation up to date. In substantial new chapters, Robertson covers the protection of war correspondents, the problem of piracy, crimes against humanity in Syria, nuclear armament in Iran, and other challenges we are grappling with today. He criticizes the Obama administration’s policies around “targeted killing” and the trials of Khalid Sheik Mohammed and other “high value” detainees. By rendering a complex debate accessible, Robertson once again provides an essential guide for anyone looking to understand human rights and how to work toward a more complete blueprint for justice. |
manuel alvarez bravo polaroids: Nacho Lopez, Mexican Photographer John Mraz, 2003 Annotation Photographer Nacho Lopez was Mexico's Eugene Smith, fusing social commitment with searing imagery to dramatize the plight of the helpless, the poor, and the marginalized in the pages of glossy illustrated magazines. Even today, Lopez's photographs forcefully belie the picturesque exoticism that is invariably presented as the essence of Mexico. In Nacho Lopez, Mexican Photographer, John Mraz offers the first full-length study in English of this influential photojournalist and provides a close visual analysis of more than fifty of Lopez's most important photographs. Mraz first sets Lopez's work in the historical and cultural context of the authoritarian presidentialism that characterized Mexican politics in the 1950s, the cult of wealth and celebrity promoted by Mexico's professional photographers, and the government's attempts to modernize and industrialize Mexico at almost any cost. Mraz skillfully explores the implications of Lopez's imagery in this setting: the extent to which his photographs might constitute further victimization of his downtrodden subjects, the relationship between them and the middle-class readers of the magazines for which Lopez worked, and the success with which his photographs challenged Mexico's economic and political structures. Mraz contrasts the photos Lopez took with those that were selected by his editors for publication. He also compares Lopez's images with his theories about documentary photography, and considers Lopez's photographs alongside the work of Robert Capa, Dorothea Lange, Henri Cartier-Bresson, and Sebastiao Salgado. Lopez's imagery is further analyzed in relation to the Mexican Golden Age cinema inspired by Sergei Eisenstein, the pioneeringdigital imagery of Pedro Meyer, and the work of Manuel Alvarez Bravo, who Mraz provocatively argues was the first Mexican photographer to take an anti-picturesque stance. The definitive English-language assessment of Nacho Lo. |
manuel alvarez bravo polaroids: Manuel Alvarez Bravo Frederick Kaufman, Manuel Alvarez Bravo, 1997 Manuel Alvarez Bravo began photographing in 1924, during Mexico's thriving post-revolutionary artistic renaissance. His influences, from indigenous cultures to contemporary European trends, combined through his artistry to form a unique, transcendent vision rooted in the iconography of his country. While his early work embraced Mexico's urban realities, its peasants and workers, and its hauntingly beautiful landscape, Alvarez Bravo's ever-present acknowledgment of the macabre prompted Andre Breton, the leader of Surrealism in France, to claim him as an exponent of the movement. Prolific, uncompromising, and committed to advancing the arts of his country, nevertheless, public recognition eluded Alvarez Bravo, even in Mexico, until the 1970s, when his photographs were exhibited at the Pasadena Art Museum in California and at New York's Museum of Modern Art, in 1971. But it was not until 1997 that his work became widely known through a definitive exhibit of 185 photographs at the Museum of Modern Art and the simultaneous publication by Aperture of Manuel Alvarez Bravo: Photographs and Memories. Manuel Alvarez Bravo won his first award in 1931, and then decided to pursue photography as a career. He met Andre Breton in 1939, and his work was subsequently included in Surrealist exhibitions in Paris. In 1942, the Museum of Modern Art, New York, acquired their first works by Alvarez Bravo; in 1955, his photographs were included in Edward Steichen'sFamily of Man exhibition at MoMa. In 1959 Alvarez Bravo co-founded the Fondo Editorial de la Plastica Mexicana, with the goal of publishing books on Mexican art, which he co-directed until 1980, and from 1980 to 1986, he devoted his time tofounding and developing the collection of the first Mexican Museum of Photography. Alvarez Bravo is the recipient of the Sourasky Art Prize (1974), the National Art Prize (Mexico, 1975), a John Simon Guggenheim Memorial Fellowship (1975), the Victor and Erna Hasselblad Prize (1984), and the International Center of Photography's Master of Photography Award (1987). Manuel Alvarez Bravo: Photographs and Memories presents an intimate portrait of Mexico's revered photographer and, with his most beloved images, includes a selection of little-known work chosen with the photographer specifically for this classic monograph. |
manuel alvarez bravo polaroids: Portraits in Life and Death Peter Hujar, 2024-10-08 A new edition of the cult classic photography book by the legendary Peter Hujar, featuring a foreword by Pulitzer Prize winner Benjamin Moser. |
manuel alvarez bravo polaroids: National Camera Roberto Tejada, 2009 The author offers a comprehensive study of Mexican photography from the early twentieth century to today, demonstrating how images have shaped identities in Mexico, the United States, and in the borderlands where the two nations and cultures intersect-the shared image environment. Cross-cultural expisodes that are contradictory, especially in terms of cultural and sexual difference are discussed. Analyzing such topics as territory, sexuality, and social and ethnic relations in image making, the author traces the connective thread that photography has provided between Mexican and U.S. American intellectual and cultural production, and in doing so, defines both nations.==Back cover. |
manuel alvarez bravo polaroids: M Alvarez Bravo Manuel Álvarez Bravo, Jane Livingston, 1978 Information on the artist M. Alvarez Bravo with catalougue information and imagery from exhibition with The Corcoran Gallery of Art in Washington D.C. |
manuel alvarez bravo polaroids: The Model , 2017 In 'The Model', Torbjørn Rødland examines one of the defining principles of his approach to photography: that the notion and meaning of 'the model' is open-ended. Hyper-aware that we view the world through endless filters that arbitrate our relationship with people, objects and images, from the mid 1990s Rødland's photography has sought to penetrate postmodern surfaces in order to redefine the possibilities of psychological, erotic and spiritual subjectivity and interconnectivity. He attempts to tap into subliminal thoughts and feelings through images that are both sensual and cerebral. Synthesizing an array of photographic genres and approaches 'The Model' comprises elements of critical appropriation, diaristic snapshot, reportage, commercial and staged photography all strung together by the iconic face of Polish actress and fashion model Malgosia Bela. The book brings together pictures of Malgosia made over a ten-year period in Los Angeles, New York, Paris, London, Warsaw, Oslo and Lofoten. In Rødland's words,We see her interacting with pictures, becoming pictures, being pictures. Serving as an experiment in photographic language and code, each image elicits a response that equivocates between alienation and intimacy. With this in mind, 'The Model' can also be seen as a love letter to both a medium and to a mediated woman. Exhibition: Serpentine Gallery, London, UK (29.09.-19.11.2017) / Galerie Eva Presenhuber, New York, US (November 2017)/ C/O, Berlin, Germany (09.12.2017-11.03.2018). |
manuel alvarez bravo polaroids: Shape of Light Simon Baker, Emmanuelle de L'Ecotais, Shoair Mavlian, Tate Modern (Gallery), 2018 The accompanying catalogue to the first major exhibition to consider the relationship between the photographic medium and the history of abstraction in the twentieth century, on display at London's Tate Modern.The exhibition catalogue will be arranged in a broadly chronological way to tell the story of photography and its relationship with abstraction from around 1915 to the present day, and will include historic works in a variety of media from painting and sculpture to montage and kinetic installations. Beginning with the works of cubism and vorticism, the catalogue then highlights the key contributions of Bauhaus, constructivist and surrealist artists of the 1920's and 1930's. It then moves into the s̀ubjective photography' of the 1940's and 1950's, exploring the global scope of this movement through works by artists from Latin America and Asia, before considering the impacts of photography of abstract expressionism, op art and minimalism in Europe and the US.0Bringing together iconic as well as rarely seen works, Photography and Abstract Art explores the development of photography in relation to abstract art, tracing the key moments of innovation in new techniques and practice. |
manuel alvarez bravo polaroids: Hibi Masahisa Fukase, 2016 Hibi was one of Masahisa Fukase's final bodies of work. Fukase photographed street cracks and fissures between 1990 and 1992, and then hand painted a set of 10 x 8 bromide prints. The series was shown in February 1992, in his solo exhibition 'Private Scenes '92' held at the Nikon Salon in Tokyo, alongside Private Scenes, Bukubuku, and Berobero. His working life came to an end four months later, when he fell down the stairs in Shinjuku Golden Gai, Tokyo, and suffered brain damage.--Colophon. |
manuel alvarez bravo polaroids: All about Saul Leiter Margit Erb, Pauline Vermare, Motoyuki Shibata, 2018 'A photographer's gift to the viewer is sometimes beauty in the overlooked ordinary' Saul Leiter Photography lovers the world over are now embracing Saul Leiter, who has enjoyed a remarkable revival since fading into relative obscurity in the 1980s. This collection reveals the secrets of his appeal, from his life philosophy and lyricism to masterful colours and compositions. Some 200 works - including early street photographs, images for advertising, nudes and paintings - cover Leiter's career from the 1940s onwards, accompanied by quotations from the artist himself that express his singular world view. |
manuel alvarez bravo polaroids: Diane Arbus Elisabeth Sussman, Diane Arbus, Doon Arbus, Jeff Rosenheim, 2011 Diane Arbus: A Chronology is the closest thing possible to a contemporaneous diary by one of the most daring, influential, and controversial artists of the twentieth century. Drawn primarily from Arbus's correspondence with friends, family, and colleagues; personal notebooks; and other unpublished writings, this beautifully produced volume exposes the astonishing vision of an artist with the courage to see things as they are and the grace to permit them simply to be. The Chronology also includes exhaustively researched footnotes, and biographies of fifty-five personalities, family members, friends, and colleagues, including Marvin Israel, Lisette Model, Weegee and August Sander. -- Publisher's description. |
manuel alvarez bravo polaroids: Manuel Alvarez Bravo Manuel Alvarez Bravo, Guillermo Sheridan, Rose Gallery (Santa Monica, Calif.), 2007 Introduction by Rose Shoshana. Text by Guillermo Sheridan. Translated by Lorna Fox. |
manuel alvarez bravo polaroids: Polaroid SX-70 , 2019 The godfather of colour photography has released a new photo book, shedding light on a little-known facet of his output--his sumptuously sun-drenched Polaroids. -Daisy Woodward, AnOther This book is a facsimile of an album of Eggleston's Polaroids assembled by the photographer himself, and containing the only photos he made in this medium. Consisting of 56 images taken with the Polaroid SX-70 (the now cult camera produced between 1972 and 1981) and hand-mounted in a black leather album also produced by the company, Polaroid SX-70 is the first publication of Eggleston's Polaroids. The gloriously mundane subjects of these photos--a Mississippi street sign, a telephone book, stacked crates of empty soda bottles--is familiar Eggleston territory, but, fascinatingly, all of these Polaroids were taken outdoors. They are rare records of Eggleston's strolls or drives in and around Mississippi, complementing the majority of his work made with color negative film or color slides, and showing his flair for photo-sequencing in book form. |
manuel alvarez bravo polaroids: Sight Unseen , 2009 This book was published by UCR ARTSblock on the occasion of the exhibition Sight Unseen: International Photography by Blind Artists on view from May 2 to August 20, 2009 at UCR/California Museum of Photography. |
manuel alvarez bravo polaroids: Bellocq E. J. Bellocq, 1996 An expanded and revised edition of the famous book of portraits of prostitutes in turn-of-the-century New Orleans, the inspiration for the Louis Malle film Pretty Baby. This new edition includes 52 tritone photos printed in a large format. The text from the original edition--by John Szarjowski, former director of photography at the Museum of Modern Art--is reprinted here, along with a new Introduction by Susan Sontag. |
manuel alvarez bravo polaroids: Manuel Álvarez Bravo Manuel Alvarez Bravo, Consejo nacional para la cultura y las artes (Mexique)., Instituto nacional de bellas artes (Mexique)., 2001 Acompañadas de una recopilación de textos periodísticos, poemas, cartas y documentos personales que sobre el fotógrafo escribieron Edward Westorn, Octavio Paz, Langston Hughes, André Breton, Paul Strand y Francisco Toledo, entre otros, las cien imágenes que componen este volumen, seleccionadas por el mismo artista, constituyen una de las travesías poéticas a lo largo del siglo XX de Manuel Álvarez Bravo. |
manuel alvarez bravo polaroids: Conversations with Contemporary Photographers Nan Richardson, 2005 Conversations is a landmark series in photography, featuring extensive interviews by major international critics with living masters on aesthetics, craft, and culture. The book traces the heritage of the medium in fascinating, informal discourses on topics ranging from the personal to the political, covering intimate detail and theoretical background alike. Complete with biographies, bibliographies, and self-portraits of each featured artist, it is both a vital record of contemporary photography and an engaging read.--BOOK JACKET. |
manuel alvarez bravo polaroids: Manuel Alvarez Bravo. Polaroids , 2005-09-25 El poeta Xavier Villaurrutia describió a Manuel Álvarez Bravo como un san Dionisio moderno, un hombre que tenía la cabeza en las manos. Álvarez Bravo tomó fotografías constantemente en el transcurso de su larga vida, y siempre abierto a la experimentación, no menospreció la rapidez y la conveniencia de las cámaras Polaroid, cuando aparecieron en la década de 1960. Prologada con un texto conmovedor de la viuda del fotógrafo, esta selección de sus Polaroids en color descubre el lado juguetón y espontáneo del gran maestro mexicano de las luces y las sombras. |
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