Description
Ensemble de quinze ouvrages :
BASILICO, GABRIELE (1944)
*Dancing 1978. Nuovo paesaggio Emiliano.
Milano : Editphoto, 1978. Agrafé. 28,5 x 21,5 cm. 24 p. Édition originale.
Exemplaire un peu défraîchi. Le premier livre du photographe.
DELAHAYE, LUC (1962)
*L'autre (avec Jean Baudrillard).
London : Phaidon Press Ltd., 1999.
Broché. 22 x 16,5 cm. Édition originale.
Bilingue français / anglais. Texte de Jean Baudrillard.
« J'ai volé ces photos entre '95 et 97 dans le métro à Paris.
Volé, car il est interdit de prendre, c'est la loi... ».
DICORCIA, PHILIP-LORCA (1951)
*Heads.
New York / Göttingen : SteidlBox PaceMacGill, 2001.
Relié, toile noire, avec jaquette imprimée. 30 x 37,5 cm. Édition originale.
On y joint le carton d'invitation pour une exposition à New York de Philip-Lorca diCorcia.
FISCHER, ROLAND (1958)
*Portraits.
Musée d'Art Moderne de la Ville de Paris, 1989. Broché. 25,5 x 10,5 cm.
Édition originale. Textes d'O. Clement sur 35 pages suivi de 26 planches couleur.
On y joint :
*Fotoarbeiten 1984-1990.
Saarbrücken / Linz : Saarland Museum / Oberösterreichisches, 1990.
Relié. 28,5 x 23 cm. 76 p. Édition originale. Petits défauts.
*Un bulletin de la Galerie Sollertis (mars 1996) sur Roland Fischer.
GRIFFIN, BRIAN
*Brian Griffin. London : Brian Griffin, 1978. Agrafé. 29,7 x 21 cm.
Édition originale. Défauts. Livre d'artiste ne comprenant aucun texte.
*Power. British management in focus. London : Travelling Light Photography Limited,
1981. Relié. 27 x 21 cm. 128 p. Édition originale. Texte de Richard Smith.
Introduction de Sir Peter Parker. Cet exemplaire est signé par Brian GR IFFIN.
*Work. London : Black Pudding Publishing, 1988.
Broché. 29,5 x 29,5 cm. 128 p. Édition originale. Minimes défauts.
Complet avec une carte. Exemplaire signé par Brian Griffin.
On y joint le livret « Work », National Portrait Gallery. Brochure de l'exposition.
GOLDIN, NAN (1953)
*The Other Side.
Manchester : Cornerhouse, 1993.
Relié, sous jaquette illustrée. 27,5 x 22,5 cm. 144 p. Édition originale.
« This book is about beauty. And about my love for all my friends... »
JONES, SARAH (1959)
*Sarah Jones.
Salamanca, Ediciones Universidad, 1999.
Broché, 27 x 24 cm, 45 p. Édition originale. Textes en espagnol et anglais de Chris Townsend.
MICHALS, DUANE (1932)
*Album : The Portraits of Duane Michals.
Pasadena : Twelvetree Press, 1988.
Relié, toile grise, sous jaquette illustrée. 36 x 28,5 cm. Édition originale.
Cet exemplaire est signé par Duane Michals avec une dédicace à l'ancien propriétaire.
Pour la signature, Duane MICHALS s'est approprié les signatures de « Paul Valéry,
F.F. Vallotten, Bonnard, Paul Cérusier, p. Signac » et les a tous imités. Édition originale.
MOORE, DAVID (1961)
*The Velvet Arena.
Southampton : Velvet Press, 1994. Broché. 23 x 23 cm.
Édition originale de 500 exemplaires. Minimes défauts.
PARR, MARTIN (1952)
*From A to B, tales of modern motoring.
London / Manchester : BB C books / Cornerhouse, 1994.
Broché, couverture illustréee. 23 x 23,5 cm. Édition originale.
Textes de Nicholas Barker. This book « Accompanies the BB C TV Series ».
REAS, PAUL (1955)
*I Can Help.
Manchester : Cornerhouse Publications, 1988. Broché. 21 x 26 cm. 36 p.
Édition originale.
Couverture légèrement jaunie.
YASS, CATHERINE (1963)
*Portraits.
Portsmouth : Aspex Gallery, 1996. Broché. 21 x 27,5 cm. Édition originale.
Notes
Catherine Yass (born 1963) is an English artist. Catherine Yass was born in 1963 in London and in her early years lived in Hampstead. She later studied at the Slade School of Art, London (1982-1986) and then at Hochschule der Künste, Berlin (1984-1985). She received a Boise travelling scholarship for the period 1986-1987 and then graduated with an MA from Goldsmiths College, London in 1990. Yass is noted for her very brightly coloured photographs, a number of which present an image which is a combination of the positive and negative. Many of her works are mounted on light boxes. Yass's subjects are varied: her early works often depict the people and institutions who commissioned, supported, or curated her work. Later she concentrated on interiors, making a series of photos of Spitalfields Market in London, and another, Corridor (1994), of a mental hospital. Other series included shots of toilets, steel mills in Wales and Star, a series of pictures of Indian Bollywood stars displayed alongside pictures of empty cinemas. Yass has also worked with video. Descent (2002) is a film made by lowering the camera in a crane over a construction site at London's Canary Wharf. With a moving camera, she also took a series of still photographs (such as Descent: HQ5: 1/2s, 4.7°, Omm 40mph), resulting in images of vertical streaks and blurred patches of colour. In 2000, Yass designed the Christmas tree for Tate Britain, and in 2002 she was shortlisted for the Turner Prize. She is represented by Alison Jacques Gallery and has made editions with Alan Cristea Gallery, London.
Martin Parr (born 24 May 1952) is a British documentary photographer, photojournalist and photobook collector. He is known for his photographic projects that take a critical look at aspects of modern life, in particular provincial and suburban life in England. He is a member of Magnum Photos.
Duane Michals (pronounced /'ma?k?ls/, born February 18, 1932) is an American photographer.[1] Michals' work makes innovative use of photo-sequences, often incorporating text to examine emotion and philosophy.
Michals' interest in art "began at age 14 while attending watercolor classes at the Carnegie Institute [Carnegie Museum of Art] in Pittsburgh."[3] In 1953 he received a B.A. from the University of Denver.[4] After two years in the Army, in 1956 he went on to study at the Parsons School of Design with a plan to becoming a graphic designer; however, he did not complete his studies.[3] He describes his photographic skills as "completely self-taught."[2] In 1958 while on a holiday in the USSR he discovered an interest in photography.[4] The photographs he made during this trip became his first exhibition held in 1963 at the Underground Gallery in New York City. For a number of years, Michals was a commercial photographer, working for Esquire and Mademoiselle, and he covered the filming of The Great Gatsby for Vogue (1974).[5] He did not have a studio. Instead, he took portraits of people in their environment, which was a contrast to the method of other photographers at the time, such as Avedon and Irving Penn. Michals was hired by the government of Mexico to photograph the 1968 Summer Olympics.[5] In 1970 his works were shown at the Museum of Modern Art in New York.[6] The portraits he took between 1958 and 1988 would later become the basis of his book, Album. In 1976 Michals received a grant from the National Endowment for the Arts. Michals also produced the art for the album Synchronicity (by The Police) in 1983,[3][5] and Richard Barone's Clouds Over Eden album in 1993.
Sarah Jones (born 1959) is a visual artist who works with photography. She gained international recognition in the mid 1990s coinciding with the completion of an MA in Fine Art at Goldsmith's College in London in 1996. Her photographic technique highlights the relationship between her life-size subjects - domestic spaces and people, often adolescent girls - and the spectator.
Jones's work has been included in numerous exhibitions, nationally and internationally. Solo exhibitions include: Museum Folkwang, Essen; Museum Reina Sofia, Madrid; Le Consortium, Dijon; Huis Marseille, Amsterdam; Maureen Paley, London and Anton Kern Gallery, New York. Group exhibitions include; Tate Britain; Tate Liverpool; Kunstmuseum, Wolfsburg; Staatliche Kunsthalle, Baden-Baden; Orange County Museum, Los Angeles, and Norton Museum of Art, Florida. Her work is represented in both public and private collections nationally and internationally. Jones is currently a research fellow at the University of Derby and a tutor at the Royal College of Art in London. Sarah Jones is represented by Maureen Paley, London and Anton Kern Gallery, New York.
Nancy "Nan" Goldin (born, September 12, 1953, Washington, D.C.) is an American photographer.
oldin was born in Washington, D.C., and grew up in the Boston, Massachusetts suburb of Lexington, to middle class Jewish parents whose ideas, moderately liberal and progressive, were put to the test when on April 12, 1965 their eldest daughter Barbara Holly, at the age of eighteen, committed suicide. After attending the nearby Lexington High School, she enrolled at the Satya Community School in Lincoln, where a teacher introduced her to the camera in 1968. Goldin was then fifteen years old. Her first solo show, held in Boston in 1973, was based on her photographic journeys among the city's gay and transsexual communities, to which she had been introduced by her friend David Armstrong. Goldin graduated from the School of the Museum of Fine Arts, Boston/Tufts University in 1977/1978, where she had worked mostly with Cibachrome prints. Following graduation, Goldin moved to New York City. She began documenting the post-punk new-wave music scene, along with the city's vibrant, post-Stonewall gay subculture of the late 1970s and early 1980s. She was drawn especially to the Bowery's hard-drug subculture; these photographs, taken between 1979 and 1986, form her famous work The Ballad of Sexual Dependency -- a title taken from a song in Bertolt Brecht's Threepenny Opera.[1] These snapshot aesthetic images depict drug use, violent, aggressive couples and autobiographical moments. Most of her Ballad subjects were dead by the 1990s, lost either to drug overdose or AIDS; this tally included close friends and often-photographed subjects Greer Lankton and Cookie Mueller. In 2003, The New York Times nodded to the work's impact, explaining Goldin had "forged a genre, with photography as influential as any in the last twenty years."[2] In addition to Ballad, she combined her Bowery pictures in two other series: "I'll Be Your Mirror" (from a song on The Velvet Underground's The Velvet Underground & Nico album) and "All By Myself." Goldin's work is most often presented in the form of a slideshow, and has been shown at film festivals; her most famous being a 45 minute show in which 800 pictures are displayed. The main themes of her early pictures are love, gender, domesticity, and sexuality; these frames are usually shot with available light. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public.[3] Goldin's work since 1995 has included a wide array of subject matter: collaborative book projects with famed Japanese photographer Nobuyoshi Araki; New York City skylines; uncanny landscapes (notably of people in water); her lover, Siobhan; and babies, parenthood and family life. Goldin lives in New York and Paris--one reason the French Pompidou Centre mounted a major retrospective of her work in 2002. Her hand was injured in a fall in 2002, and she currently retains less ability to turn it than in the past. In 2006, her exhibition, Chasing a Ghost, opened in New York. It was the first installation by her to include moving pictures, a fully narrative score, and voiceover, and included the disturbing three-screen slide and video presentation Sisters, Saints, & Sybils. The work involved her sister Barbara's suicide and how she coped through a numerous amount of images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her graviation towards working with films.[4] She was presented the 2007 Hasselblad Award [5] on 10 November 2007.[6] She has been represented in America exclusively by Matthew Marks Gallery since 1992 and Yvon Lambert Gallery in Paris.
Philip-Lorca diCorcia (born 1951) is an American photographer. He studied at the School of the Museum of Fine Arts, Boston. Afterwards diCorcia attended Yale University where he received a Master of Fine Arts in Photography in 1979. He now lives and works in New York, and teaches at Yale University in New Haven, Connecticut.
DiCorcia was born in 1951 in Hartford, Connecticut. He attended the School of the Museum of Fine Arts, Boston, where he earned a Diploma in 1975 and a 5th year certificate in 1976.
diCorcia's work has been exhibited in group shows in both the United States and Europe since 1977 , he participated in the traveling exhibition Pleasures and Terrors of Domestic Comfort, organized by New York's MOMA in 1991. His work was also featured in the 1997 Whitney Biennial at the Whitney Museum of American Art, and, in the 2003 exposition Cruel and Tender at London's Tate Modern. The following year diCorcia's work was included in Fashioning Fiction in Photography Since 1990 at the MOMA. His most recent series was seen in the Carnegie Museum of Art's 54th Carnegie International exhibition in Pittsburgh, Pennsylvania.[2] He has also exhibited in Germany (Essen), Spain (Salamanca) and Sweden (Stockholm)[citation needed]. diCorcia received his first solo show in 1985 and from then on he has been featured in one-person exhibitions worldwide, including those at New York's Museum of Modern Art; Paris' Centre National de la Photographie; London's Whitechapel Art Gallery; Madrid's Museo Nacional Centro de Arte Reina Sofía; Tokyo's Art Space Ginza; and Hannover's Sprengel Museum.[2] In March 2009, David Zwirner in New York held an exhibition of one thousand actual-size reproductions of diCorcia's Polaroids, entitled Thousand.
DiCorcia alternates between informal snapshots and iconic quality staged compositions that often have a baroque theatricality.[3] Using a carefully planned staging, he takes everyday occurrences beyond the realm of banality, trying to inspire in his picture's spectators an awareness of the psychology and emotion contained in real-life situations.[4] His work could be described as documentary photography mixed with the fictional world of cinema and advertising, which creates a powerful link between reality, fantasy and desire.[3] During the late 1970s, during diCorcia's early career, he used to situate his friends and family within fictional interior tableaus, that would make the viewer think that the pictures were spontaneous shots of someone's everyday life, when they were in fact carefully staged and planned in beforehand.[2][4] He would later start photographing random people in urban spaces all around the world. When in Berlin, Calcutta, Hollywood, New York, Rome and Tokyo, he would often hide lights in the pavement, which would illuminate a random subject in a special way, often isolating them from the other people in the street[citation needed]. His photographs would then give a sense of heightened drama to the passers-by accidental poses, unintended movements and insignificant facial expressions.[5] Even if sometimes the subject appears to be completely detached to the world around him, diCorcia has often used the city of the subject's name as the title of the photo, placing the passers-by back into the city's anonymity.[5] Each of his series, Hustlers, Streetwork, Heads, A Storybook Life, and Lucky Thirteen, can be considered progressive explorations of diCorcia's formal and conceptual fields of interest. Besides his family, associates and random people he has also photographed personas already theatrically enlarged by their life choices, such as the pole dancers in his latest series. His pictures have black humor within them, and have been described[by whom?] as "Rorschach-like", since they can have a different interpretation depending on the viewer[citation needed]. As they are planned beforehand, diCorcia often plants in his concepts issues like the marketing of reality, the commodification of identity, art, and morality.
Luc Delahaye (born 1962) is a French photographer known for his large-scale color works depicting conflicts, world events or social issues. His pictures are characterized by detachment, directness and rich details, a documentary approach which is however countered by dramatic intensity and a narrative structure.[1] Delahaye started his career as a photojournalist. He joined the photo agency Sipa Press in the mid 80s and dedicated himself to war reporting. In 1994, he joined the cooperative Magnum Photos and Newsweek Magazine (he left Magnum in 2004). He distinguished himself during the 1980s and 1990s in Lebanon, Afghanistan, Yugoslavia, Rwanda and Chechnya. His war photography was characterized by its raw, direct recording of news and often combined a perilous closeness to events with an intellectual detachment in the questioning of his own presence.[2] This concern was later mirrored in a minimalist series published as books, notably Portrait/1, a set of photobooth portraits of homeless people and L'Autre, a series of stolen portraits made in the Paris subway. With Winterreise, he explored the social consequences of the economic depression in Russia. In 2001, Delahaye conducted a radical formal change and began a new series. Shot at the scenes of wars and global events using large and medium format cameras and sometimes edited on computers, his pictures are produced at an imposing size and shown in museums. While exploring the boundaries between reality and the imaginary,[3] they constitute documents-monuments of immediate history,[4] and urge reflection "upon the relationships among art, history and information".
