Fotografi

The most comprehensive survey of Weems' genre-defying oeuvre yet publishedOne of the most influential American artists working today, Carrie Mae Weems has investigated narratives around family, race, gender, sexism, class and the consequences of power for more than 40 years. Her complex oeuvre-always ahead of its time, and profoundly formative for younger generations of artists-has employed photography (for which she is best known), fabric, text, audio, digital images, installation and video. Writing in the New York Times, Holland Cotter succinctly described Weems as "a superb image maker and a moral force, focused and irrepressible."This volume, spanning four decades of work, is the most thorough survey yet published. It includes Weems' earliest series, such as Family Pictures and Stories, for which she photographed her relatives and close friends; the legendary Kitchen Table Series, in which she posed in a domestic setting; and other critically acclaimed works and series such as Ain't Jokin', Colored People, From Here I Saw What Happened and I Cried, Not Manet's Type, The Jefferson Suite, Monuments, Roaming, Museums, Constructing History (A Class Ponders the Future), Slow Fade to Black and the Obama Project, among many others. Contextualizing these pieces are essays by LaCharles Ward and Fred Moten and a chronology by Raul Muñoz. The book also includes a visual essay by Weems that presents a personal selection of her own works from the artist's perspective. The accompanying exhibition is organized by Fundación MAPFRE in collaboration with Fundación Foto Colectania, Barcelona and Württembergischer Kunstverein, Stuttgart, where the exhibition Carrie Mae Weems. The Evidence Of Things Not Seen took place from April 2 through July 10, 2022. Carrie Mae Weems (born 1953) has received numerous awards, grants and fellowships, and is represented in public and private collections around the world, including the Metropolitan Museum of Art, the Museum of Fine Arts, Houston, the Museum of Modern Art and the Museum of Contemporary Art, Los Angeles. Weems lives in Brooklyn and Syracuse, New York.

Badlands 777 releases the third issue of their self-published magazine entitled, Wake up. We've arrived. We're changing the world. The issue presents a collection of work from dynamic modern creatives, bounded by the prevalent theme of women within the music industry. _x000D__x000D_Art demands courage, and with that courage, we can challenge authority. It's time to wake up, because we've arrived, and we're changing the world. _x000D__x000D_Badlands 777 Issue #3 Wake up. We've arrived. We're changing the world features photography from Tom Craig, Richard Kern, Monika Mogi, Arvida Byström, Dafy Hagai and many more. Features include Pam Hogg, Warpaint, Skinny Girl Diet and Ellie Rowsell of Wolf Alice. The cover features Leomie Anderson, shot at London's celebrated Notting Hill Carnival, by Tom Craig.

In Flanders, between 2014 and 2020, David De Beyter gained acceptance and trust in the "Big Bangers" community of stock car enthusiasts who demolish or burn vehicles that would otherwise be consigned to the scrap heap for the beauty of the gesture and the sheer nihilistic pleasure of the spectacle. Each wreck resulting from this destructive practice is called an "auto sculpture" in the community's lingo. De Beyter's immersive project thus involved a combined artistic and anthropological approach, as is evident in Build and Destroy. In its very format, the book resonates with the experience of destruction as observed by the artist and o! ers an aptly fragmentary reading of this brutal culture. Bringing together photographs, photograms from 16 mm " lms and extracts from family archives, Build and Destroy o! ers itself as a visual essay that examines the material as subject as much as it investigates the formal possibilities opened up by the materiality of images.

"Nude Book 2. Leonardo Glauso" is a Book containing fashion nude photos of the beautiful girls and models captured by photographer Leonardo Glauso. Leonardo Glauso was born in Florence in 1989 and he lives in Milan since 2014. He has a degree in Graphic Design and has studied Photography in Florence for a year. He got into fashion photography and he has improved since then.Italian fashion photographer, editor and founder of international fashion publication, Resuer Magazine.

(please scroll down for english version)It's All One Song versammelt Architekturfotografien des Italienischen Fotografen Marco Zanta die im Laufe der letzten Jahrzehnte auf seinen Reisen durch Europa, die USA, Asien und Afrika entstanden. In einer nur scheinbar zusammenhangslosen Sequenz springen die Bilder von Kontinent zu Kontinent, von Innen- zu Außenraum, von Epoche zu Epoche, von der Postmoderne zu marode vor sich hin bröckelndem Baubestand und wieder zurück zu Beton, Stahl und Glas gewordenem urbanen Größenwahn. Im stetig wechselnden Rhythmus der oft kaum sichtbar ineinander übergehenden Bilder, offenbaren sich so Seite für Seite Länder- und kulturübergreifende Motive, Themen und urbane Topografien. In diesem »Song«, den Zanta anstimmt, verschmelzen die Städte bei der Betrachtung zu einem einzigen Bewusstseinstrom, einem globalen Raum, von verheißungsvoller Utopie bis zum spätkapitalistischen Albtraum.Marco Zanta (*1962) ist einer der bekanntesten Architekturfotografen Italiens. Seit den 1980er Jahren untersucht er, wie der urbane und industrielle Raum fotografisch abgebildet werden kann. Daneben arbeitet er auch für renommierte Architekturbüros wie John Pawson Studio, Afra e Tobia Scarpa und Tadao Ando. Zanta nahm an mehreren Ausgaben der Biennale Venedig teil, seine Werke wurden weltweit institutionell ausgestellt und sind in öffentlichen und privaten Sammlungen vertreten.It's All One Song brings together architectural photographs by Italian photographer Marco Zanta taken during his travels through Europe, the USA, Asia and Africa over the course of the last decades. In a seemingly random sequence, the images jump from continent to continent, from interior to exterior spaces, from era to era, from postmodernism to dilapidated buildings and back again to urban megalomania made out of concrete, steel and glass. In the constantly changing rhythm of images merging subtly into one another, transnational and transcultural motifs, themes, and urban topographies are revealed page after page. In this "song" that Zanta invokes, the cities depicted merge into a single stream of consciousness, a global space that ranges from promising utopia to late capitalist nightmare.Marco Zanta (*1962) is one of Italy's best-known architectural photographers. Since the 1980s he has been exploring how urban and industrial space can be depicted photographically. In addition he has also worked for renowned architectural firms such as John Pawson Studio, Afra e Tobia Scarpa and Tadao Ando. Zanta has participated in several editions of the Venice Biennale. His works have been exhibited institutionally worldwide and are represented in numerous public and private collections.

This is the first of three memoirs written by Eartha Kitt. Thursday's Child was originally published in 1956 and covers Eartha's childhood and early career. This book is what inspired the name of David Bowie's song "Thursday's Child."Eartha Kitt (1927-2008) was an American singer, actress, comedienne, dancer, and activist known for her highly distinctive singing style and her 1953 recordings of "C'est si bon" and the Christmas novelty song "Santa Baby", both of which reached the top 10 on the Billboard Hot 100.Kitt began her career in 1942 and appeared in the 1945 original Broadway theatre production of the musical Carib Song. In the early 1950s, she had six US Top 30 hits, including "Uska Dara" and "I Want to Be Evil". She starred as Catwoman in the third and final season of the television series Batman in 1967.Eartha continued her career up until her death in 2008, appearing in both stage and film projects as well as lending her voice to several prominent Disney projects including "The Emperor's New Groove".

I movimenti indipendentisti estone, lettone e lituano colsero l¿occasione dello scoppio della Rivoluzione russa per rivendicare la propria identità nazionale, dichiarando l¿indipendenza nel corso del 1918, a cui seguirono anni di sanguinose guerre con il neonato stato sovietico. Il dato comune a tutti e tre i conflitti, seguiti alla dichiarazione d¿indipendenza delle tre Repubbliche Baltiche, fu la carenza di armi, leggere e pesanti, mezzi blindati e corazzati, autoveicoli e autocarri che interessarono i neonati eserciti. Un notevole contributo operativo, logistico e strategico venne invece dall¿utilizzo delle ferrovie, con linee ferroviarie e materiale rotabile, molto sviluppate in tutte e tre le Repubbliche. Fu proprio grazie a questa disponibilità, oltre all¿ingegnosità e alla capacità delle maestranze impiegate, che in breve tempo furono allestiti numerosi treni blindati adatti a tutti i tipi di scartamento presente, consentendo a questi mezzi improvvisati di risultare determinanti in numerosi scontri con il nemico. Al termine del conflitto, in tutte e tre le Repubbliche Baltiche, le battaglie sostenute dai treni blindati vennero giustamente celebrate, merito sia dei...

This book looks at the Turkish Army and Navy during the Era of Sultan Abdulaziz, the 32nd Sultan of the Ottoman Empire, who reigned between 25 June 1861 and 30 May 1876. The Army and Navy changed its appearance substantially, from the Crimean War Period. The most notable of the 1861 Era changes was the adoption of a standardized system for rank identification than had existed previously. Based on using an arrangement of gold or silver chevrons placed abouve the tunic cuff. Other major changes included introduction of a Zouave uniform based on French Army versions used by the bulk of the Turkish Army. Another major change to occur under Sultan Abdulaziz was a massive purchase campaign for new Infantry small arms, Artillery and ironclad warships modernization.

"...But dreaming, like play, suspends us in time, and maybe here we touch something common with childhood, the magic of opening categories and questions, bits from you, or me, or somewhere else. And maybe you never find out, maybe no one knows. Maybe it's all a dream. These are pieces of dreams, things said, heard, and perhaps misremembered from a space that's not quite one thing. How could it ever be?"

Black and white images taken at the turn of the 20th Century provide a gorgeous, nostalgic view of Buffalo, Niagara Falls, Western New York, and beyond.

New York, United States

This book is about twenty-one sarees, their stories illustrated through the author's personal life, accompanied by visuals showcasing the distinctive features in each exquisite saree.

'On Rape' is a visualisation of the origin of gender stereotypes and myths, as well as the failing structures of law and order, that perpetuate rape culture. Abril interweaves testimonies, political proclamations, historical archives, popular and traditional beliefs, to explore society's failure to deal with sexual violence.

German photographer Ilse Bing has secured her place as one of the major photographers of the 20th century. Her pioneering images during the inter-war era reveal a modern vision influenced by the impact of both the Bauhaus and Surrealism.

Schau auf den Mann, wenn du den Fotografen entdecken willst. Sein Vater hat gerade ein Fahrrad verkauft und schenkt ihm die erste Kamera, eine alte FED 5V. Goran ist 13 Jahre alt und weiß noch nicht, dass diese Vorgängerin einer Leica es ihm erlauben wird, rasch Fortschritte zu machen mit der Hilfe des Freundes seiner älteren Schwester, eines Berufsfotografen. Und aus seinem Leben ein ständiges Abenteuer machen wird - ausgebreitet auf den 444 Seiten dieses außergewöhnlichen Bandes, ein wichtiger Beitrag auf dem großen Weg der Fotoreportage und eine unverzichtbare Geschichte der letzten 30 Jahre.In den Fußstapfen und als Kollege von James Nachtwey ist Tomas¿evic¿ auch ein würdiger Nachfolger von Robert Capa, Larry Burrows, Don McCullins und einer der größten Profis seiner Generation. Auf seine ganz eigene Art bezieht er sich auch auf Mathew Brady, der im Bürgerkrieg von 1861 den "Geruch des Todes" in amerikanische Haushalte bringen wollte.Goran Tomas¿evic¿ schnitt sich nie von seiner serbischen Herkunft ab. Im Gegenteil, obwohl ihn bereits Afrika und der Nahe Osten faszinierten, berichtete er anfangs über die Situation in Kroatien und Bosnien 1991 und nahm Aufträge aus der lokalen Presse an, etwa von der kosovarischen Tageszeitung Pristina. Die Lehren und die Zuneigung seines Vaters und Großvaters im Kopf, widmete sich Tomas¿evic¿ vorrangig der schweren Krise im Land zwischen Bombenangriffen der NATO und Demonstrationen gegen Milos¿evic¿.Die Qualität seiner Reportagen, die Kraft seiner Bilder öffneten ihm die Tür zur berühmten Agentur Reuters, der er 1996 beitrat. In den folgenden 20 Jahren wurde er zu einem der am meisten ausgezeichneten Fotografen der Welt. "Wenn du die Fakten authentisch vermitteln willst, musst du dort sein, wo sie sind. Das ist die Herausforderung. Aber es ist schwerer," meinte er in einem Interview, "wenn die Stories in deiner Heimat passieren. Das tut am meisten weh." Dieses Geständnis zeigt einen der Gründe für seine Humanität, die alle seine Reportagen durchwirkt, von Pristina bis Kabul, sowie seine gesamte Fotografie, schon jetzt ein äußerst bedeutsames, ausdrucksstarkes Werk in der Welt der Fotoreportage. Die Bilder von Goran Tomas¿evic¿ sind nötiger als je zuvor, um die Wahrheit der Fakten zu erkennen und den Respekt gegenüber jedem Betrachter, Bürgern ohne Grenzen unseres völlig digitalisierten Planeten. Alain Mingam, President des World Press Photo Contest 1994 und Vizepräsident von Reporters Without Borders 2013 - 2015.AUSSTELLUNGGoran Tomas¿evic¿"Between War and PeaceVisa Pour l'ImagePerpignan, Frankreich27.08. - 11.09.2022

a collection of 22 mixed media digital collage works composed of original photography, drawing, and abstract calligraphy.

Essays published in both English and Ukrainian.