The legacy of Robert Mapplethorpe (1946 -1989) is rich and complicated, triggering controversy, polarizing critics, and providing inspiration for many artists who followed him. Mapplethorpe taught himself about the history of art, how to run a studio, how to network, and how to keep the public interested in him. At the same time, he honed a distinctive individual vision based on craftsmanship and an aesthetic of classical grace. One of the most influential figures of his time, today Mapplethorpe stands as an example to emerging photographers who continue to test boundaries and concepts of the beautiful.
Robert Mapplethorpe: The Photographs offers a timely and rewarding examination of his oeuvre and influence. Drawing from the extraordinary collection jointly acquired by the J. Paul Getty Museum and the Los Angeles County Museum of Art from The Robert Mapplethorpe Foundation, as well as the Mapplethorpe Archive housed at the Getty Research Institute, the authors were given the unique opportunity to explore new resources and present fresh perspectives. The result is a fascinating exploration of Mapplethorpe's career and legacy, with in-depth essays on sexuality and identity, all accompanied by more than 250 striking images covering the remarkable range of his photographic work - from florals to portraits from nudes to still lifes, as well as the controversial X Portfolio. All of these beautifully integrated elements contribute to what is an essential point of access to Mapplethorpe's work and practice.
How film emerged in 19th-century Paris amid an array of social, political, artistic and technological innovations--with works by the Lumiere brothers, Mélies, Chéret and more City of Cinema traces film's evolution from an obscure entertainment to the most powerful art form of the 20th century. Placing cinema in the context of 19th-century Parisian visual culture, this book brings together posters, paintings, studio and documentary photography, and film stills that evoke Paris as a site of consumption, demonstrate early cinema's relationship with technology and the fine arts, and highlight local and global spaces of film production. It also examines the aspects of 19th-century visual culture that gave rise to cinema as a quintessentially modern medium with an eager audience. Aligning with French beliefs that the nation's culture would be democratized through consumption, cinema reinforced a set of assumptions about French cultural and political authority and disseminated these ideas to the rest of the world.
Presented here are images of and from the street by Jean Béraud, Charles Marville, Jules Chéret and Auguste and Louis Lumière; the technological experimentation of Loïe Fuller, Émile Reynaud and Georges Méliès; and the plein-air observations of Camille Pissarro and the staged artifice of Jean-Leon Gerome--all of which can be considered alongside the prototype film studios of Georges Méliès, Gaumont and Pathé.
At the dawn of the 20th century, cinema is as much, if not more, a way of appropriating the world. Through arresting images and incisive texts, this book examines the origins of cinema and its position as a global medium.
An essential primer on the history of Photoshop and other tools of digital image manipulation, from the 1970s through to the current day
This timely volume, Digital Witness, examines the impact of Photoshop and other tools of digital manipulation, tracing simultaneous developments in photography, graphic design and visual effects over roughly five decades.
Beginning in the 1970s and 1980s, advances in computer science and engineering made it possible to design, build and run raster graphics programs, while developments in graphical user interfaces allowed artists and designers to directly create and edit images. At the same time, these nascent technologies led to concerns about authorship, automation and the viability of the businesses that supported various creative industries. During the 1990s, following the release of Photoshop, image-editing software rose to widespread use in multiple fields. As digitally altered imagery has permeated popular culture, aesthetic and ethical debates have played out in mass media, politics, advertising and even the judicial system.
Examining the relationship between software development and artistic practice, Digital Witness explores how artists and engineers responded to each others' innovations. Each new version of Photoshop allowed for increasingly sophisticated edits, from tracing intricate paths to layers to editable type. Some artists found creative potential in these advances, taking analog art forms such as collage to digitally enabled extremes. Others resisted the growing dependence on mainstream commercial software, developing open-source alternatives.
Published in conjunction with the landmark PST ART exhibition at the Los Angeles County Museum of Art, this substantial, image-packed volume includes Q&As with noted visual artists, filmmakers and designers such as Copper Frances Giloth, Raqi Syed and April Greiman.
Le LACMA expose 200 clichés de la collection de photographies de Marjorie et Leonard Vernon. Récemment acquis par le musée, cet ensemble d'images souligne l'importance de la photographie dans la culture visuelle moderne. Longtemps classée entre l'art et la science, la photographie n'a pas fini de faire parler d'elle et restera toujours un puissant révélateur de la perception.
Retraçant le développement de la 3D des années 1830 à aujourd'hui, ce livre dessine une histoire alternative du modernisme dans laquelle la profondeur virtuelle prend le dessus sur l'absence matérielle de relief. L'auteur explore les origines du stéréoscope et son impact sur les artistes comme Jules Duboscq, Marcel Duchamp, Oskar Fischinger ou Salvador Dali avant de poursuivre sur l'anaphyphe et les films polarisés et d'autres formes de 3D comme le View-Master, l'appareil stéréo, l'impression lenticulaire, l'animation par ordinateur et l'holographie. Ce livre explique comment et pourquoi les images 3D demeurent un émerveillement pour les artistes, comme Simone Forti, Dan Graham, Mariko Mori, William Kentridge, Trisha Baga et Lucy Raven et revient ainsi sur 200 ans d'innovations et de création artistique.
Revisiting the exhibition that defined a generation of photography, through a meticulous reimagining of the original catalog
In his introduction to the exhibition catalog for New Topographics: Photographs of a Man-Altered Landscape, held in 1975 at the George Eastman House International Museum of Photography in Rochester, NY, curator William Jenkins described the black-and-white images he selected as "reduced to an essentially topographic state, conveying substantial amounts of information but eschewing entirely the aspects of beauty, emotion and opinion." The exhibition brought together 10 photographers: Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore and Henry Wessel Jr.
Signaling the emergence of a new approach to landscape, the show effectively gave a name to a movement. Even today, the concept of "New Topographics" is used to characterize the work of artists not yet born when the exhibition was held. "New Topographics" has since come to be understood as marking a paradigm shift. The show occurred just as photography took its place within the contemporary art world. Arguably the last traditionally photographic style, "New Topographics" was also the first photoconceptual style.
In this vital reassessment of the exhibition that started it all, curator Britt Salvesen reintroduces the work of these 10 photographers and traces the legacy of their work over the last 50 years. Illustrated with selected works from the 1975 exhibition, installation views and contextual comparisons, the book also includes an illustrated checklist of the show and an extensive bibliography.
Cet ouvrage constitue un point d'entrée essentiel dans l'oeuvre et la pratique artistique de Robert Mapplethorpe.
Robert Mapplethorpe a laissé un héritage riche et complexe : il a suscité la polémique, polarisé les critiques et inspiré de nombreux artistes qui poursuivent les pistes ouvertes par ce photographe hors du commun. Mû par un profond désir de célébrité, Mapplethorpe a tout appris par lui-même : l'histoire de l'art, gérer un studio, entretenir un réseau, maintenir l'intérêt du public. En même temps, il a su élaborer une vision très personnelle, fondée sur une parfaite connaissance de son métier et sur une esthétique de la grâce classique. Cet artiste, l'un des plus in&uents et des plus controversés en son temps, sert aujourd'hui d'exemple pour les jeunes photographes désireux de tester les limites de leur art et de jouer sur les différentes conceptions de la beauté.
La publication de Robert Mapplethorpe. Photographies vient à point nommé dans cette appréciation renouvelée du travail du photographe.
Puisant dans l'extraordinaire collection de près de 2 000 oeuvres éditées, objets en techniques mixtes et polaroïds - collection acquise conjointement en 2011 de la Robert Mapplethorpe Foundation par le J. Paul Getty Museum et le Los Angeles County Museum of Art -, mais aussi dans les archives Robert Mapplethorpe conservées au Getty Research Institute, les auteurs et les contributeurs de cet ouvrage ont eu toute latitude pour explorer des matériaux et documents nouveaux et présenter des perspectives inédites sur l'artiste. L'ouvrage comprend une passionnante introduction à la carrière et à l'héritage de Mapplethorpe et cinq essais approfondis sur sa sexualité et son identité, le tout accompagné d'une riche sélection d'illustrations couvrant l'ensemble de son oeuvre photographique. À cela s'ajoutent une histoire détaillée de ses expositions, une chronologie illustrée de sa vie et de son oeuvre et une importante bibliographie. Magni+quement intégrés, tous ces éléments se conjuguent pour constituer ce qui promet d'être un ouvrage de référence indispensable et un point d'accès essentiel à l'oeuvre et aux pratiques artistiques de Robert Mapplethorpe.
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