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| shirana shahbazi website: Color Library Emily King, Shirana Shahbazi, Maximage, 2018-10 A collectible volume for graphic designers and creative entrepreneurs, this book is dedicated to Color Library, one of the most discussed projects in the field of graphic design of the last few years. An investigation into color reproduction and printing, Color Library is a tool for artists, designers, photographers, and printers. It aims to widen the possibilities of color printing, and reflects on our contemporary perception of color as it is shaped by the recent developments in print production. Primarily conceived as a digital platform, Color Library offers a variety of colorimetric profiles automatically applicable to images, based on color combinations generated according to their perceptual, technical, and conceptual relevance. It not only offers an alternative to standard color printing, but also affirms a distinctive vision of how to print colors and process them (Verlagshomepage). |
| shirana shahbazi website: Frieze , 2006 |
| shirana shahbazi website: Art on Paper , 2005 |
| shirana shahbazi website: Federal Register , 2012-08 |
| shirana shahbazi website: Camerawork , 2007 |
| shirana shahbazi website: Without Boundary Fereshteh Daftari, 2006 Is it possible to speak of a contemporary art with an Islamic difference? This question will be the subject of an exhibition that brings together artists who come from the Islamic world but who live and work mostly in Europe and the United States. Tapping into certain aesthetic, political and spiritual notions commonly associated with the Islamic world, the book seeks to highlight the nuanced reactions of each individual artist. |
| shirana shahbazi website: Productive Digression Anselm Haverkamp, 2017-05-08 Productive Digression is a translation of the ancient term poetics: as a practice of theory. The products produced in the mode of poiesis are ‘digressive’ in that they operate off track; they resist the main stream of every day prose. They do so for various reasons and in various respects. Mostly, they are explained historically, relative to historical contexts and, that is, contrary to what they are meant to resist. Instead, this book investigates the modes of resistance, their epistemology of production, in short, the logic of digression. The method addresses the singular exemplarity of art and literature; it elucidates the impact of poiesis as an epistemological challenge and redefines the analysis of literature and art as branches of an Historical Epistemology. Proceeding from the state of affairs in 20th century criticism and aesthetics (Benjamin, Adorno, Blumenberg, Merleau-Ponty), the epistemology of representation (Whitehead, Canguilhem, Bachelard, Rheinberger) is revised in, and with respect to critical consequences (Derrida, Marin, de Man, Agamben). From literary criticism and critical legal studies to the scenario of the life sciences, the essays collected here redirect the logic of research towards the epistemological grounds of an aesthetics underneath the hermeneutics of every day life. |
| shirana shahbazi website: Parkett Series with Contemporary Artists , 2006 |
| shirana shahbazi website: Art in America Frank Jewett Mather, Frederic Fairchild Sherman, 2008 |
| shirana shahbazi website: Camera Austria International MdM Salzburg, 2018 The objective of this publication is to trace and describe the artistic and institutional decisions that have influenced the work of Camera Austria, which has been made visible through numerous exhibitions and symposiums on photography and, since 1980, by the magazine Camera Austria International. Operating through a comprehensive network of photographers, academics, and art critics from all over the world, the?laboratory? Camera Austria has shaped the photographic culture both internationally and regionally. At the centre of the book are positions of artists that Camera Austria has worked with for exhibitions, who have presented their work at the symposiums and contributed to the magazine. |
| shirana shahbazi website: Art in Theory Paul Wood, Leon Wainwright, Charles Harrison, 2021-01-19 A ground-breaking new anthology in the Art in Theory series, offering an examination of the changing relationships between the West and the wider world in the field of art and material culture Art in Theory: The West in the World is a ground-breaking anthology that comprehensively examines the relationship of Western art to the art and material culture of the wider world. Editors Paul Wood and Leon Wainwright have included 370 texts, some of which appear in English for the first time. The anthologized texts are presented in eight chronological parts, which are then subdivided into key themes appropriate to each historical era. The majority of the texts are representations of changing ideas about the cultures of the world by European artists and intellectuals, but increasingly, as the modern period develops, and especially as colonialism is challenged, a variety of dissenting voices begin to claim their space, and a counter narrative to western hegemony develops. Over half the book is devoted to 20th and 21st century materials, though the book’s unique selling point is the way it relates the modern globalization of art to much longer cultural histories. As well as the anthologized material, Art in Theory: The West in the World contains: A general introduction discussing the scope of the collection Introductory essays to each of the eight parts, outlining the main themes in their historical contexts Individual introductions to each text, explaining how they relate to the wider theoretical and political currents of their time Intended for a wide audience, the book is essential reading for students on courses in art and art history. It will also be useful to specialists in the field of art history and readers with a general interest in the culture and politics of the modern world. |
| shirana shahbazi website: Ways of Hearing Damon Krukowski, 2019-04-09 A writer-musician examines how the switch from analog to digital audio is changing our perceptions of time, space, love, money, and power. Our voices carry farther than ever before, thanks to digital media. But how are they being heard? In this book, Damon Krukowski examines how the switch from analog to digital audio is changing our perceptions of time, space, love, money, and power. In Ways of Hearing—modeled on Ways of Seeing, John Berger's influential 1972 book on visual culture—Krukowski offers readers a set of tools for critical listening in the digital age. Just as Ways of Seeing began as a BBC television series, Ways of Hearing is based on a six-part podcast produced for the groundbreaking public radio podcast network Radiotopia. Inventive uses of text and design help bring the message beyond the range of earbuds. Each chapter of Ways of Hearing explores a different aspect of listening in the digital age: time, space, love, money, and power. Digital time, for example, is designed for machines. When we trade broadcast for podcast, or analog for digital in the recording studio, we give up the opportunity to perceive time together through our media. On the street, we experience public space privately, as our headphones allow us to avoid “ear contact” with the city. Heard on a cell phone, our loved ones' voices are compressed, stripped of context by digital technology. Music has been dematerialized, no longer an object to be bought and sold. With recommendation algorithms and playlists, digital corporations have created a media universe that adapts to us, eliminating the pleasures of brick-and-mortar browsing. Krukowski lays out a choice: do we want a world enriched by the messiness of noise, or one that strives toward the purity of signal only? |
| shirana shahbazi website: Accept the Expected Shirana Shahbazi, Centre d'art contemporain (Geneva, Switzerland), 2005 Shirana Shahbazi was born in Tehran and raised in Stuttgart. This overview of her German-influenced photography, often on Iranan subjecs, covers the last five years--during which she won the Citibank Prize and appeared in her first Venice Biennale--and includes essays from a dozen distinguished contributors including Maurizio Cattelan. |
| shirana shahbazi website: Photography is Magic Charlotte Cotton, 2015 Photography Is Magic draws together current ideas about the use of photography as an invaluable medium in the contemporary art world. Edited and with an essay by Charlotte Cotton, this critical publication surveys over eighty artists, all of whom are engaged with experimental ideas concerning photographic practice, as the contemporary landscape is currently being reshaped through digital techniques. We are shown the scope of photographic possibilities in the context of the contemporary creative process. From Michele Abeles and Walead Beshty to Daniel Gordon and Matt Lipps, Cotton has selected artists who are consciously reframing photographic practices using mixed media, appropriation, and a recalibration of analog processes. Photography Is Magic provides the reader with an engaging physical experience and is designed for younger photo aficionados, students, and anyone interested in gaining a deeper understanding of contemporary photography. |
| shirana shahbazi website: The Swiss Institute Experience Gianni Jetzer, 2013 This anthology summarizes seven years of exhibitions at the Swiss Institute in New York. Contributors include John Armleder, Andrew Blake, Michael Bracewell, Tom Burr, Antoine Catala, Florence Derieux, Dan Graham, Harmony Korine, Piper Marshall, Malcolm McLaren, John Miller, Bob Nickas, Walter Pfeiffer, Haim Steinbach and Lawrence Weiner. |
| shirana shahbazi website: The British Journal of Photography , 2002 |
| shirana shahbazi website: Shirana Shahbazi Shirana Shahbazi, 2016 Tehran North, Shirana Shahbazi's latest photo-project from October 2015, is a subjective road movie captured from a car driving through the Iranian capital at night. The book offers a black and white kaleidoscopic vision of Tehran's urban landscape. Camera Austria publisher and director Reinhard Braun characterizes it as a film noir traversing a megacity that, although remote and unknown to many, seems to be as common as others. He continues: Housing areas, illuminated shops and billboards, highways, facades vanish either in darkness either in bright light, slipping away from any decisive representation. Uncanny encounters clash with everyday banality. The mysterious is at the same time forced and undermined, suppressing any exoticism. Beauty is shaking knowledge, as fascination is shaking distant objectiveness, and vice versa. Both an inventory and a construction, highly artificial and generic, Tehran North ends with nearly unidentifiable shapes and almost slides into darkness. But this is not a statement of finishing; it is an introduction to all the other possible images to follow up. --Publisher's website. |
| shirana shahbazi website: Artforum International , 2003 |
| shirana shahbazi website: Real fantasies Urs Stahel, 2006 |
| shirana shahbazi website: Landscape Ferdinand Protzman, 2003 A celebration of Earth's incredible and diverse beauty, with well over 100 images from around the world, is coupled with illuminating text on the evolution of landscape photography dating back to the 19th century. |
| shirana shahbazi website: Toyin Ojih Odutola Barbican Art Gallery, 2020-05 Lotte Johnson, Toyin Ojih Odutola, Zadie Smith |
| shirana shahbazi website: Word Into Art Venetia Porter, 2006 |
| shirana shahbazi website: Contemporary , 2002 |
| shirana shahbazi website: The age of innocence Elizabeth Peyton, 2013 |
| shirana shahbazi website: Scenes in a Library Carol M. Armstrong, 1998-01 In Scenes in a Library, Carol Armstrong explores the experimental moment, at the inception of the new medium, when the word came to haunt the photographic image and the forty or so years - roughly from the 1840s to the 1880s - during which the photographic image alternately resisted and became assimilated by the printed page. |
| shirana shahbazi website: Vlisco Fabrics Roger Gerards, Suze May Sho, 2012 Since 1846, the Vlisco company, located in Helmond, has supplied the Western and Central African market with Dutch Wax fabrics. This book is an homage to the fabrics fascinating history more than a hundred years old, born in Indonesia, designed in the Netherlands, loved in Africa and coveted in the West. Full of layered meaning, the fabrics find their way to Parisian fashion shows, markets in Ghana and galleries in London and New York. More than 200 examples of fabrics from the Vlisco archives literally fill the pages of this colourful book, which presents a brief overview of each individual design. |
| shirana shahbazi website: Fotogalleriet Oslo Antonio Cataldo, 2021-04 |
| shirana shahbazi website: Art AsiaPacific Almanac , 2005 |
| shirana shahbazi website: Art in America , 2005 |
| shirana shahbazi website: Shirana Shahbazi Shirana Shahbazi, 2011 Photography is always suspended between authenticity, construction and selection ... a balancing act that is, to me, its quintessential justification as an artistic medium--Shirana Shahbazi Shirana Shahbazi explores genres as varied as the vanitas still-life, portraiture, landscape and color abstraction. Shahbazi is just as mobile in her choice of media, for example commissioning carpet makers in her native Iran and billboard painters to copy her images. Often employing the slick look of commercial photography, Shahbazi's images are bright and accessible, yet at heart dispassionate and skeptical. Shirana Shahbazi was born in Tehran in 1974, moved to Germany in 1985 and today lives in Zurich. She studied photography and design at the University of Applied Sciences and Arts in Dortmund and at Zurich University of the Arts. Her work has been exhibited at venues including the Centre d'Art Contemporain in Geneva, the Barbican Art Gallery in London and the Hammer Museum in Los Angeles. |
| shirana shahbazi website: Flash Art , 2004 |
| shirana shahbazi website: Shadow Fux Rita Ackermann, Harmony Korine, Gianni Jetzer, Antoine Catala, 2011 Separately renowned in their respective mediums of film and painting, Harmony Korine and Rita Ackermann meet in their mutual affection for unorthodox, mischievous beauty, and more specifically in the creation of psychologically jarring figures amplified through fragmented narratives. Shadowfux documents the artists' first collaboration. Taking Korine's recent film Trash Humpers (2009) as its point of departure, it features large-scale works in which Ackermann and Korine have collaged, painted and drawn over stills of the film's beguiling young bodies with old faces. Generated through a call-and-response method, Shadowfux illustrates the importance of cutting to both artists' works. Additionally, it presents short texts by Korine, as well as previously unpublished deleted scenes from Trash Humpers. Accompanying the artists' works are short illustrative texts by exhibition curator Gianni Jetzer, curators Richard Flood and Piper Marshall, and critics Antoine Catala and Cameron Shaw. |
| shirana shahbazi website: Parkett - 20 years of artists' collaborations Mirjam Varadinis, Parkett Verlag, 2004 Comprises a complete set of all Parkett issues. |
| shirana shahbazi website: The Artist's Estate Dr. Loretta Würtenberger, 2021-11-24 Andy Warhol bequeathed us the words Death can really make you look like a star. But death per se is not a catalyst for the relevance of an artist. What is of crucial importance is the proper management structure for the posthumous preservation and development of an artistic estate. The handbook by Loretta Würtenberger presents the possible legal framework, appropriate financing models, as well as the proper handling of the market, museums, and academia. Her business, Fine Art Partners, has advised artists and artists' estates for many years in their structuring and development of estate concepts as well as in operative questions. Based on numerous international examples, the author explains the different alternatives for maintaining an artist's estate and makes recommendations on how to ideally handle work, archives, and mementos following the death of an artist. |
| shirana shahbazi website: Climate Change and Plant Abiotic Stress Tolerance Narendra Tuteja, Sarvajeet S. Gill, 2014-02-17 In this ready reference, a global team of experts comprehensively cover molecular and cell biology-based approaches to the impact of increasing global temperatures on crop productivity. The work is divided into four parts. Following an introduction to the general challenges for agriculture around the globe due to climate change, part two discusses how the resulting increase of abiotic stress factors can be dealt with. The third part then outlines the different strategies and approaches to address the challenge of climate change, and the whole is rounded off by a number of specific examples of improvements to crop productivity. With its forward-looking focus on solutions, this book is an indispensable help for the agro-industry, policy makers and academia. |
| shirana shahbazi website: Art press , 2001 |
| shirana shahbazi website: Iran Oliver Hartung, 2016 Since the revolution in 1979, Iran has developed an image culture projecting statesanctioned religious ideology in public spaces that serve as transit zones. Between 2011 and 2014, German artist and former freelance photographer for the New York Times Oliver Hartung produced a body of work on Iran comprised of images which, upon first glance, depict colorful street paraphernalia, posters, graffiti, murals, monuments, and war cemeteries, but upon a closer inspection reveal a much deeper psychology engineered to bolster the myth of the Islamic Republic. Hartungs unique view of the Middle Eastoften lost amid images of war and conflictcreates a portrait of a country still largely unknown to the West. Part of a long-term project exploring the contemporary cultures of the Middle East, Hartungs thoughtful monograph is packed with over 300 color images. Hartungs last publication with Spector was Syria Al-Assad. |
| shirana shahbazi website: Masculinities Alona Pardo, 2020-03-19 Examining increasingly fluid notions of masculinity over the past six decades, this book offers a culturally diverse collection of work from some of the world's most celebrated photographers. This photographic exploration draws together the work of approximately fifty artists of different ethnicities, generations, and gender identities to look at how ideas of masculinity have evolved since the 1960s. Each of its six themed chapters features bold and arresting work by artists such as Richard Avedon, John Coplans, Robert Mapplethorpe, Herb Ritts, Collier Schorr, Larry Sultan, Wolfgang Tillmans, and David Wojnarowicz, who are all renowned for their depictions of masculinity and its tropes. Others, including Rotimi Fani-Kayode, Masahisa Fukase, Adi Nes, Hank Willis Thomas, and Akram Zaatari, offer ethnically and culturally diverse perspectives. A number of female artists--Laurie Anderson, Annette Messager, Tracey Moffatt, and Marianne Wex--explore the uncomfortable and invasive nature of the male gaze and younger artists such as Sam Contis, Andrew Moisey, Paul Mpagi Sepuya, and Elle Pérez, offer a 21st-century perspective of maleness through the lens of identity and global politics. Each chapter in the book opens with an essay by a key thinker in the fields of art, history, culture, and queer studies. Spanning decades and continents, this exploration shows how increasingly difficult it is to define masculinity. |
| shirana shahbazi website: Fischli Weiss Bice Curiger, 2007-06-05 Peter Fischli and David Weiss have been collaborating since 1979 on a body of work that humorously celebrates the sheer banality of everyday existence. Including contributions from leading critics, commentators, artists and film-makers, this book examines the duo who ignore the traditional distinctions between high and low art. |
| shirana shahbazi website: Do Not Bend David Shrigley, 2001 |
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