aman iman (89 results)

Condition: good. Befriedigend/Good: Durchschnittlich erhaltenes Buch bzw. Schutzumschlag mit Gebrauchsspuren, aber vollständigen Seiten. / Describes the average WORN book or dust jacket that has all the pages present.

Paperback. Condition: New. Conversations is a book of interviews with contemporary photographers, conducted by Rémi Coignet, photo book critic. Since 2014, when the first volume was published, the aim is to give a prominent place to photographers, so that they can make their voices heard in the field of publishing, often forgotten in favour of those of critics, journalists and curators. Photographers, publishers and graphic designers are invited to revisit their work and reveal their intentions. In the course of the interviews, a geography of contemporary photography is sketched out, following on from two previous volumes, Conversations, published in 2015, and Conversations 2, published in 2016. This third volume focuses on photographers who are particularly interested in editing and editorial work. Photographers thus fully discuss their editorial project, their vision of the photo book and its importance in their photographic practice. Rémi Coignet also interviews photo publishers in order to make their voices heard in a sector that is under-represented. Excerpt from an interview with Sophie Calle Rémi Coignet: Most people's lives are very mundane. I have the feeling that very often you slip a grain of sand into banality to see if something interesting is going to happen. I think for example of Where and when? or following a man to Venice. Sophie Calle : Yes, but at the same time I say banal things. A man who leaves, a mother who dies, break-ups. But there are also all the works that are not about me: a stolen painting, a blind man. Everyone in this room has been left once, received a break-up letter or a phone call or a text message now. Excerpt from an interview with Antoine d'Agata Rémi Coignet: It seems to me that you have written somewhere that you live what you photograph, and photograph what you live. Antoine d'Agata: Yes, this relationship is complex, impure. There is no possible balance. At no time can we reach a balance, a balance, a harmony. Always life or photography takes over. I am constantly struggling to find this impossible balance. This very attempt is worth living. I think it makes the experience more intense because the photographic distance allows an intelligence of the lived moment that makes it deeper, more ambiguous. Excerpt from an interview with William Klein Rémi Coignet: From this first book, typography plays an essential role, and it will be in all your books, as in the credits of your films. What is its role for you? William Klein: Painting at the time was at the dawn of Pop and typography was essential. There are even some photographs that I deliberately designed that way. For one day, I was going to skim the typography of New York City. Conversations with :LAURENCE AËGERTERJULIAN BARON SOPHIE CALLEEDMUND CLARKANTOINE D'AGATAAMAURY DA CUNHAMISHKA HENNERWILLIAM KLEINSUSAN MEISELASPINO MUSISOPHIE RISTELHUEBER DAYANITA SINGHCARLOS SPORTTORNOKAJTA STUKE andOLIVER SIEBERPIERRE VON KLEISTDONOVAN WYLIE.

Paperback. Condition: new. Paperback. Conversations is a book of interviews with contemporary photographers, conducted by Remi Coignet, photo book critic. Since 2014, when the first volume was published, the aim is to give a prominent place to photographers, so that they can make their voices heard in the field of publishing, often forgotten in favour of those of critics, journalists and curators.Photographers, publishers and graphic designers are invited to revisit their work and reveal their intentions. In the course of the interviews, a geography of contemporary photography is sketched out, following on from two previous volumes, Conversations, published in 2015, and Conversations 2, published in 2016.This third volume focuses on photographers who are particularly interested in editing and editorial work. Photographers thus fully discuss their editorial project, their vision of the photo book and its importance in their photographic practice. Remi Coignet also interviews photo publishers in order to make their voices heard in a sector that is under-represented.Excerpt from an interview with Sophie CalleRemi Coignet: Most peoples lives are very mundane. I have the feeling that very often you slip a grain of sand into banality to see if something interesting is going to happen. I think for example of Where and when? or following a man to Venice Sophie Calle : Yes, but at the same time I say banal things. A man who leaves, a mother who dies, break-ups. But there are also all the works that are not about me: a stolen painting, a blind man. Everyone in this room has been left once, received a break-up letter or a phone call or a text message nowExcerpt from an interview with Antoine dAgata Remi Coignet: It seems to me that you have written somewhere that you live what you photograph, and photograph what you live.Antoine dAgata: Yes, this relationship is complex, impure. There is no possible balance. At no time can we reach a balance, a balance, a harmony. Always life or photography takes over. I am constantly struggling to find this impossible balance. This very attempt is worth living. I think it makes the experience more intense because the photographic distance allows an intelligence of the lived moment that makes it deeper, more ambiguous. Excerpt from an interview with William KleinRemi Coignet: From this first book, typography plays an essential role, and it will be in all your books, as in the credits of your films. What is its role for you? William Klein: Painting at the time was at the dawn of Pop and typography was essential. There are even some photographs that I deliberately designed that way. For one day, I was going to skim the typography of New York City.Conversations with :LAURENCE AEGERTERJULIAN BARON SOPHIE CALLEEDMUND CLARKANTOINE DAGATAAMAURY DA CUNHAMISHKA HENNERWILLIAM KLEINSUSAN MEISELASPINO MUSISOPHIE RISTELHUEBER DAYANITA SINGHCARLOS SPORTTORNOKAJTA STUKE &OLIVER SIEBERPIERRE VON KLEISTDONOVAN WYLIE Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. The Eyes invites Lebanese-born writer Sabyl Ghoussoub to explore the link betweenp hotography and exile. This issue invites us to reflect on how art can help to reconstruct a fragmented identity. This new issue of The Eyes takes a multi-dimensional approach to exile. Exile as a common noun, as a state, as a condition, but also, and above all, as a verb. Exiles are actors in their own destiny, with the capacity to transform their lives and influence their own paths. Far from external representations of exiles, this issue focuses on first-person accounts. This is true not only of Sabyl Ghoussoub, the guest artist in this issue, but also of the other artists. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: new. Paperback. The Eyes questions cultural and societal evolutions through the prism of photography and creation and gives carte blanche to experts directly concerned by the subjects addressed. B-Side, the upcoming issue of The Eyes journal, invites its readers to a visual exploration of what it means to be Afropean, a notion of expertise of our guest curator Johny Pitts, British photographer and author.Historical and contemporary photographers, seminal and singular books and journals will explore the diversity of black identities as experienced in Europe.Entitled B-Side, this issue is strongly inspired by music, the field that gave birth to the term Afropean. B-Side is also an opportunity to take an offbeat approach and look at the B-side, the one we dont hear much about and see most of the time in a marginal way.ABOUT JOHNY PITTS THE EYES #12 GUEST CURATORJohny Pitts is the curator of the ENAR (European Network Against Racism) award-winning online journal Afropean. com and the author of Afropean: Notes from Black Europe (Penguin Random House). Translated into French, German, Italian and Spanish, it has been awarded the 2020 Jhalak Prize and the 2020 Bread & Roses Award for Radical Publishing and is the recipient of the 2021 Leipzig Book Award for European Understanding and the 2021 European Essay Prize.TEXTSB-SIDE Taous DahmaniSPECTRES AND TEXTURES: THE B-SIDE WINS AGAINJohny Pitts CONVERSATION WITH MAD PROFESSORMelissa Chemam, Johny Pitts, Mad Professor, Roger Robinson30 TRACKS FROM THE B-SIDEJohny Pitts Afropean playlistWHAT DOES AFROPEAN MEAN TO YOU?Thomas Chatterton Williams, Marie Daulne, Claude Grunitzky, Anna Lafont, Vittorio Longhi, Caryl Phillips, Minna Salami, Elvan ZabunyanTHE EYES X PHOTOCAPTIONIST Johny Pitts, Roger Robinson13 ARTISTS PORTFOLIOS JAZZ GRANTMOHAMED BOUROUISSAJAMES BARNOR EDDIE OTCHERE REMY BOURDEAUSILVIA ROSI CEDRINE SCHEIDIGZINEB SEDIRA BRUNO BOUDJELALTABITA REZAIREDELIO JASSEMAUD SULTERMARVIN BONHEUR SOFIA YALA RODRIGUES7 BOOKS PORTFOLIOSREVUE NOIRE10 YEARS OF TRACE LIZ JOHNSON ARTURPARIS BOUT DU MONDE // ANAIK FRANTZ & FRANCOIS MASPERO THE GHOSTS OF SONGS: THE FILM ART OF THE BLACK AUDIO FILM COLLECTIVE // KODWO ESHUN & ANJALIKA SAGARBISO BANA YA POTO // CLAUDIA NDEBELEA SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS // ARTHUR JAFA Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condition: new. Hardcover. Changing times: Art facing a new world brings together proposals from artists and authors inviting us to question how the world of art more specifically the visual art world can act, react and interact in the face of the constantly changing environment in which we live.This publication is part of the Parallel programme of which The Eyes is a member. Each year Parallel selects young artists, writers and curators to collaborate around a common theme to create personal projects, essays or exhibitions. Changing times: art facing a new world! will be associated with the programming of The Eyes Talks in Arles.Introduction by Remi Coignet, author and critic.Portfolios of the artists: Agata Wieczorek, Ana Zibelnik, Thomas Wynne, Glorija Lizde, Ines Marinho and Negar Yaghmaian.Essays by Laura Konttinen, Seda Yildiz and Cihad Caner. Graphic design: Sarah Boris Studio Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New. The Eyes invites Lebanese-born writer Sabyl Ghoussoub to explore the link betweenp hotography and exile. This issue invites us to reflect on how art can help to reconstruct a fragmented identity. This new issue of The Eyes takes a multi-dimensional approach to exile. Exile as a common noun, as a state, as a condition, but also, and above all, as a verb. Exiles are actors in their own destiny, with the capacity to transform their lives and influence their own paths. Far from external representations of exiles, this issue focuses on first-person accounts. This is true not only of Sabyl Ghoussoub, the guest artist in this issue, but also of the other artists.

Hardback. Condition: New. "Changing times: Art facing a new world" brings together proposals from artists and authors inviting us to question how the world of art - more specifically the visual art world - can act, react and interact in the face of the constantly changing environment in which we live. This publication is part of the Parallel programme of which The Eyes is a member. Each year Parallel selects young artists, writers and curators to collaborate around a common theme to create personal projects, essays or exhibitions. "Changing times: art facing a new world! "will be associated with the programming of The Eyes Talks in Arles. Introduction by Rémi Coignet, author and critic. Portfolios of the artists: Agata Wieczorek, Ana Zibelnik, Thomas Wynne, Glorija Lizde, Ines Marinho and Negar Yaghmaian. Essays by Laura Konttinen, Seda Yildiz and Cihad Caner. Graphic design: Sarah Boris Studio.

Paperback. Condition: New. The Eyes questions cultural and societal evolutions through the prism of photography and creation and gives carte blanche to experts directly concerned by the subjects addressed. B-Side, the upcoming issue of The Eyes journal, invites its readers to a visual exploration of what it means to be Afropean, a notion of expertise of our guest curator Johny Pitts, British photographer and author. Historical and contemporary photographers, seminal and singular books and journals will explore the diversity of black identities as experienced in Europe. Entitled "B-Side", this issue is strongly inspired by music, the field that gave birth to the term Afropean. B-Side is also an opportunity to take an offbeat approach and look at the B-side, the one we don't hear much about and see most of the time in a marginal way. ABOUT JOHNY PITTS - THE EYES #12 GUEST CURATORJohny Pitts is the curator of the ENAR (European Network Against Racism) award-winning online journal Afropean. com and the author of Afropean: Notes from Black Europe (Penguin Random House). Translated into French, German, Italian and Spanish, it has been awarded the 2020 Jhalak Prize and the 2020 Bread and Roses Award for Radical Publishing and is the recipient of the 2021 Leipzig Book Award for European Understanding and the 2021 European Essay Prize. TEXTSB-SIDE Taous DahmaniSPECTRES AND TEXTURES: THE B-SIDE WINS AGAINJohny Pitts CONVERSATION WITH MAD PROFESSORMelissa Chemam, Johny Pitts, Mad Professor, Roger Robinson 30 TRACKS FROM THE B-SIDE Johny Pitts' Afropean playlistWHAT DOES AFROPEAN MEAN TO YOU?Thomas Chatterton Williams, Marie Daulne, Claude Grunitzky, Anna Lafont, Vittorio Longhi, Caryl Phillips, Minna Salami, Elvan Zabunyan THE EYES X PHOTOCAPTIONIST Johny Pitts, Roger Robinson13 ARTISTS PORTFOLIOS JAZZ GRANT MOHAMED BOUROUISSA JAMES BARNOR EDDIE OTCHERE RÉMY BOURDEAU SILVIA ROSI CÉDRINE SCHEIDIG ZINEB SEDIRA BRUNO BOUDJELALTABITA REZAIREDÉLIO JASSEMAUD SULTERMARVIN BONHEUR SOFIA YALA RODRIGUES 7 BOOKS PORTFOLIOSREVUE NOIRE10 YEARS OF TRACE LIZ JOHNSON ARTUR PARIS BOUT DU MONDE // ANAIK FRANTZ and FRANCOIS MASPERO THE GHOSTS OF SONGS: THE FILM ART OF THE BLACK AUDIO FILM COLLECTIVE // KODWO ESHUN and ANJALIKA SAGARBISO BANA YA POTO // CLAUDIA NDEBELEA SERIES OF UTTERLY IMPROBABLE, YET EXTRAORDINARY RENDITIONS // ARTHUR JAFA.

Paperback. Condition: new. Paperback. Red Bloom is the second part of a photographic and artistic project devoted to global warmingand, in particular, the proliferation of green algae in the Cotes d'Armor region of France.Through hundreds of images, Alice Pallot returns to the very essence of the photographic process:making visible what the human eye alone cannot perceive. In this series, she proposes to materialisethe sun's red rays, which contribute to the development of toxic algae. Each work bears witness toan ecosystem threatened by the putrefaction of plants. The creation process takes several weeks:cultures grow on the prints and it is the toxicity itself that is embodied in the photograph andbecomes the substrate for the algae.The artist's aim, through works of great plastic beauty, is to alert the viewer to the non-visible butnonetheless active and deleterious anthropogenic toxicity of our environment. Through the visualexperience, the viewer gains a deeper understanding of this major issue of our time. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New. Red Bloom is the second part of a photographic and artistic project devoted to global warmingand, in particular, the proliferation of green algae in the Côtes d'Armor region of France.Through hundreds of images, Alice Pallot returns to the very essence of the photographic process:making visible what the human eye alone cannot perceive. In this series, she proposes to materialisethe sun's red rays, which contribute to the development of toxic algae. Each work bears witness toan ecosystem threatened by the putrefaction of plants. The creation process takes several weeks:cultures grow on the prints and it is the toxicity itself that is embodied in the photograph andbecomes the substrate for the algae.The artist's aim, through works of great plastic beauty, is to alert the viewer to the non-visible butnonetheless active and deleterious anthropogenic toxicity of our environment. Through the visualexperience, the viewer gains a deeper understanding of this major issue of our time.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condition: Very Good. B/w Illustrations (illustrator). First Thus. 4to - over 9¾" - 12" Tall. In pictorial wraps, 4to, unpag. Illustrated profusely. Text in japanese.

Hardcover. Condition: new. Hardcover. Veri, Orangina & Aperol Spritz is the result of a collaboration between two young Spanish artists,Sofia Paris and Andreu de Pedro. The book grew out of a summer spent on the coasts of Spain, Italyand France. The book was shaped, forged and written in the moments of photography,contemplation and inactivity.Through the story of a voyage around the Meditarranean Sea, this book tells a love story thattouches on the universal. The images gathered here embody the love between a man and a woman,but also, and above all, the love of men for this sea in the middle of the earth, Veri, Orangina &Aperol Spritz its waters, its culture, its history. Inspired by the heroes of antiquity and the Homerictexts, the artist duo propose a visual, sensitive and intimate exploration of a geographical space thatnever ceases to fascinate us.Produced on film, this original work offers a sensual plunge into the world of the Mare Nostrum.Imbued with a Nouvelle Vague aesthetic, as well as the work of Claude Nori, this book is as much anexploration of the plastic close-ups, fragmented images, landscapes, still lifes as it is aphilosophical one: what is the nature of the bond that unites us to one another? What links us to theMediterranean Sea? The book is set in time, that of a summer, while at the same time breaking awayfrom it. It carries the eternal voices of the men and gods who have lived in this land for thousands ofyears. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New. The book PATRIA is a moving account of the mourning of the father, of the questions of identity that it raises, and more generally of the history of Venezuela and its exiles since 2015, the date of the artist's last trip to his native country. "On June 9, 2020, I received a call. On this side of the Atlantic, it must have been ten o'clock, yes, it must have been ten o'clock. He's dead, she shouted at me. I found him dead. » On June 9, 2020, artist Oleñka Carrasco learned through a video call that her father had died. The book Patria is the moving story of this mourning, of the identity questions it raises, and more generally of the history of Venezuela and its exiles since 2015, the date of the artist's last trip. in his native country. A human experience par excellence, the confrontation with death is told here through the artistic re-appropriation of family archives; photographs, videos, audios. thousands of documents sent by WhatsApp on which the artist intervenes and creates works in themselves. In addition, Oleñka Carrasco takes shots of her place of life in France, the "loaned house", clichés that she transforms, manipulates, alters by using a typewriter. The typewritten text dialogues with the images and seems, as the story unfolds, to reveal the mystery of these human lives while intensifying it.

Paperback. Condition: new. Paperback. The book PATRIA is a moving account of the mourning of the father, of the questions of identity that it raises, and more generally of the history of Venezuela and its exiles since 2015, the date of the artists last trip to his native country.On June 9, 2020, I received a call.On this side of the Atlantic, it must have been ten o'clock, yes, it must have been ten o'clock.He's dead, she shouted at me. I found him dead. On June 9, 2020, artist Olenka Carrasco learned through a video call that her father had died. The book Patria is the moving story of this mourning, of the identity questions it raises, and more generally of the history of Venezuela and its exiles since 2015, the date of the artist's last trip. in his native country.A human experience par excellence, the confrontation with death is told here through the artistic re-appropriation of family archives; photographs, videos, audios thousands of documents sent by WhatsApp on which the artist intervenes and creates works in themselves. In addition, Olenka Carrasco takes shots of her place of life in France, the loaned house, cliches that she transforms, manipulates, alters by using a typewriter. The typewritten text dialogues with the images and seems, as the story unfolds, to reveal the mystery of these human lives while intensifying it. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New. Red Bloom is the second part of a photographic and artistic project devoted to global warmingand, in particular, the proliferation of green algae in the Côtes d'Armor region of France.Through hundreds of images, Alice Pallot returns to the very essence of the photographic process:making visible what the human eye alone cannot perceive. In this series, she proposes to materialisethe sun's red rays, which contribute to the development of toxic algae. Each work bears witness toan ecosystem threatened by the putrefaction of plants. The creation process takes several weeks:cultures grow on the prints and it is the toxicity itself that is embodied in the photograph andbecomes the substrate for the algae.The artist's aim, through works of great plastic beauty, is to alert the viewer to the non-visible butnonetheless active and deleterious anthropogenic toxicity of our environment. Through the visualexperience, the viewer gains a deeper understanding of this major issue of our time.

Hardback. Condition: New. Veri, Orangina and Aperol Spritz is the result of a collaboration between two young Spanish artists,Sofía París and Andreu de Pedro. The book grew out of a summer spent on the coasts of Spain, Italyand France. The book was shaped, forged and written in the moments of photography,contemplation and inactivity.Through the story of a voyage around the Meditarranean Sea, this book tells a love story thattouches on the universal. The images gathered here embody the love between a man and a woman,but also, and above all, the love of men for this 'sea in the middle of the earth', Veri, Orangina andAperol Spritz its waters, its culture, its history. Inspired by the heroes of antiquity and the Homerictexts, the artist duo propose a visual, sensitive and intimate exploration of a geographical space thatnever ceases to fascinate us.Produced on film, this original work offers a sensual plunge into the world of the Mare Nostrum.Imbued with a Nouvelle Vague aesthetic, as well as the work of Claude Nori, this book is as much anexploration of the plastic - close-ups, fragmented images, landscapes, still lifes - as it is aphilosophical one: what is the nature of the bond that unites us to one another? What links us to theMediterranean Sea? The book is set in time, that of a summer, while at the same time breaking awayfrom it. It carries the eternal voices of the men and gods who have lived in this land for thousands ofyears.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Paperback. Condition: New.

Hardcover without dustjacket as issued, unpaginated, in English and French; very good condition; clean and crisp; no internal marks. Foreign shipping may be extra.

Hardcover. Condition: new. Hardcover. For Charles Baudelaire, the photographic medium is not an art but a technical means of representing reality. As a counterpoint to Baudelaire, Antoine dAgata reworks his own photographs through digital intervention to return to engraving, as if to go from the pixel to the line of the time.He pushes photography to its limits, discarding the medium to return to the raw. Baudelaires texts thus enter into dialogue with photographs that have become engravings through wear and tear and manipulation, where the bodies blend together to give way to the poetry of the body.The work is based on the original uncensored edition of Baudelaires collection accompanied by these engraved prints by dAgata. Present and past are superimposed. Like a game of transparency that will present the frame of an image on the cover. In this work Fleurs du Mal, Baudelaire is a stroller, a spectator of the world around him, of urban transformations, while dAgata embodies photography, life and reappropriates the space of the city by the gesture.Two personalities meet on the occasion of the 200 years of the birth of Charles Baudelaire. Two artists who could have meet each other, debated, confronted each other. For dAgata, Baudelaire leaves a legacy that must be pushed to extend its own reflection.The artist intervenes on the edge of Baudelaires poems with personal reflections and quotations from his favorite thinkers, descendants of Baudelaires thought: Walter Benjamin, Guy Debord or Georges Bataille.Affixed vertically to the poems, these handwritten interventions assert themselves while leaving the original text its own space. A second sense of reading is thus offered to the reader between Baudelaires text and the interpretation given by dAgata through the words as much as through the engravings. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardback. Condition: New. For Charles Baudelaire, the photographic medium is not an art but a technical means of representing reality. As a counterpoint to Baudelaire, Antoine d'Agata reworks his own photographs through digital intervention to return to engraving, as if to go from the pixel to the line of the time. He pushes photography to its limits, discarding the medium to return to the raw. Baudelaire's texts thus enter into dialogue with photographs that have become engravings through wear and tear and manipulation, where the bodies blend together to give way to the poetry of the body. The work is based on the original uncensored edition of Baudelaire's collection accompanied by these engraved prints by d'Agata. Present and past are superimposed. Like a game of transparency that will present the frame of an image on the cover. In this work Fleurs du Mal, Baudelaire is a stroller, a spectator of the world around him, of urban transformations, while d'Agata embodies photography, life and reappropriates the space of the city by the gesture. Two personalities meet on the occasion of the 200 years of the birth of Charles Baudelaire. Two artists who could have meet each other, debated, confronted each other. For d'Agata, Baudelaire leaves a legacy that must be pushed to extend its own reflection. The artist intervenes on the edge of Baudelaire's poems with personal reflections and quotations from his favorite thinkers, descendants of Baudelaire's thought: Walter Benjamin, Guy Debord or Georges Bataille. Affixed vertically to the poems, these handwritten interventions assert themselves while leaving the original text its own space. A second sense of reading is thus offered to the reader between Baudelaire's text and the interpretation given by d'Agata through the words as much as through the engravings.

Paperback. Condition: new. Paperback. With this new issue entitled (After)care, The Eyes explores the methods and approaches of photographers who address the most traumatic chapters of our individual and collective histories.After collaborating with SMITH (Transgalactic, 2020) and Johny Pitts (B-Side, 2021), we invited the Spanish artist Laia Abril to take over the content of the magazine. This issue explores the role of responsibility in the process of photography. Many questions are raised in this issue: how do we portray our deepest wounds? What is the significance of vulnerability in the creation of photographs? How can we ensure that the violence of the world is not repeated through the violence of images?This issue of The Eyes features a variety of works and books by artists who all represent, in their own way, a practice of photographic care. The works address subjects as diverse as colonial wars, natural disasters, sexual and gender violence, and disability. Texts and interviews with researchers and artists broaden the reflection on this subject, which is as yet little discussed.TEXTS(AFTER)CARETaous DahmaniHistorian of photography and member of the editorial board of The EyesTHE ORGANIC METHODLaia AbrilArtist, researcher and guest curator of The Eyes #13(AFTER)CARE Daniela Vicherat MattarCare expert, associate professor of sociology at Leiden University in The Hague.HOW WOULD YOU CONSIDER AFTERCARE IN YOUR WORK ?The artists published in the magazine give their views on the notion of aftercare in their artistic practice.Ana Vallejo, Hayley Millar Baker, Hoda Afshar, Kitra Cahana, Margo Ovcharenko, Max Pinckers, Robert Andy Coombs, Masina & Gal, Jeremie Danon.NETWORKS OF MUTUAL CAREA conversation between the two artists, Carmen Winant and Laia Abril PHOTOCAPTIONISTLetizia Lopreiato x Laia AbrilFederica Chiocchetti proposes in these pages a dialogue between the unpublished images of Laia Abril and the poet Letizia Lopreiato.PORTFOLIOS12 ARTISTS PORTFOLIOSHoda AfsharRobert Andy Coombs Kitra CahanaJoana ChoumaliJe?re?mie DanonMasina & GalHayley Millar BakerMargo OvcharenkoMax PinckersAida SilvestriAna VallejoCarmen Winant Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

PAP. Condition: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Condition: new. Eloy, Grégoire (illustrator). Hardcover. This book is published within the framework of the Prix Niepce to which The Eyes Publishing is associated since 2019. The publishing house offers to the winner the publication of an artists edition limited to 400 copies. Part of this publication is supported by Picto Foundation.In 2021, The Prix Niepce was awarded to Gregoire Eloy.OMALO presents a series of photograms by Gregoire Eloy made during a residency in Georgia. The photographer questions time, memory and life in this recluse of the Caucasus, while continuing to propose his vision and to question the image itself.Alternating photograms and their setting in situation, Gregoire Eloy shakes up our perception of what the image is: each shot leading to a photogram (action of the light of the flash on the photosensitive paper placed in the space) and to a view of the setting in situation (image captured by the camera).Extending this feeling of the image of the inside and the outside, or more broadly of what the image is, the model of the book proposes a pathway playing with subtlety on these different surfaces of the photograph.OMALO features a set of photograms from a series of 30 unique prints, made by photographer Gregoire Eloy in 2019 and 2020 in the Caucasus, Georgia, as part of the Tbilisi Photo Festival residency.The silver paper is placed in the landscape, at night, by the light of the red headlamp, and is exposed by the light of the camera flash.Two images of the same moment are then created: the one of the triggering making the scene appear and the photogram itself.The silver paper is then revealed on the spot, in an improvised night laboratory. The photogram thus becomes an imprint of the landscape entirely produced and revealed in situ.Born in 1971, Gregoire Eloy has been a documentary photographer since 2003. For 10 years, he traveled in Eastern Europe and Central Asia for long term projects on the Soviet legacy and the wars in the South Caucasus, notably his series Les Oublies du Pipeline (2006) and Ressac (2008-2013).In 2010, he collaborated with the scientific community on a trilogy on the science of matter, which was the subject of a series of monographic books including A Black Matter (Journal 2012) and The Fault (RVB Books, 2017). The latest installment, on glaciology, is in progress.Since 2015, he has been interested in our relationship to the environment and the wild during immersive residencies in natural environments: Residencies of the Guernsey Photography Festival (2016-2017), the Tbilisi Photo Festival (2018-2020), the Champ des Impossibles (2020-2022) and the festival lHomme et la Mer du Guilvinec (2021). In 2022, his career is rewarded by the Prix Niepce Gens dImages. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Trade Paperback. Condition: New. In this year commemorating the great conflicts of the 20th century, this third instalment of the magazine examines the history of European peoples now confronted with the merging of past and present, a populist resurgence in the political climate, and the need to transcend past quarrels. Photographer Stà phane Duroy explores Berlin since 1979, Stanley Greene talks about the crisis in photojournalism, World War I in images, chatting with Sarah Moon, Luca Zanier investigates spaces dedicated to political and economic power, Maria Gruzdeva captures Europeâs eastern frontier, divulging the vernacular fascinations of Erik Kessels, a portfolio by Kirill Golovchenko and more.

Hardback. Condition: New. Almost a century later, at a time when young artists are coming back to ancient processes for contemporary expression, how can we reinterpret and extend this face-to-face encounter between the artist and the glass plate, its light and its material? In the same way, in an era that claims the place of women in the history of art, how can we question or shake up this so ordinary phenomenon of domination, whether it is the relationship to women of the artists themselves, or a certain form of resistance still today to place women artists at the heart of the creation. We have chosen to ask Anaïs Boudot to take up this challenge, that of an artistic confrontation around the cliché under glass, as well as that of a response to the veil that has long been imposed on women artists. Anaïs Boudot has created a series of works on a set of anonymous glass plates from her collection, all of which represent female figures. A modernity in the materials, in the light as well as in the tone that both challenges and imposes itself in this vis-à-vis with Picasso and Brassaï. It was following a glass plate forgotten by Brassaï in Picasso's studio that the latter began to develop a particular work on this medium. "And indeed, it is no longer virgin," exclaimed Brassaï when he discovered the plate reworked by Picasso, as Héloïse Conésa recalls in her introduction. Taking up the words of Anne Baldassari, she continues: "The artist-toro bends over the mortal wound that he inflicts on reality so that the figure so beautiful on the silver plate may emerge. A few years later, Brassaï began his Transmutations series in which he engraved not on blank plates but on original negatives. Faced with these two sacred monsters of modern art, Anaïs Boudot responds to an invitation from The Eyes, by taking her own collection of anonymous faces on glass, to rework them with gelatin. Among these portraits of anonymous people from the 20s, 30s and 40s, women's faces stand out. Where Picasso and Brassaï's scratching of the gelatin is similar to a "surgical act much more intrusive to bring out the plasticity of the work", Anaïs Boudot chooses gilding to restore these images of unknowns, to sublimate the image of these women, these muses so little considered by these masters and forgotten by the history of art. Anaïs Boudot's work is part of this instinctive and experimental approach, that of making the invisible visible. "Spending time with these women's faces, while rubbing shoulders with two historical (male) artists with a singular relationship to women, I felt the need to react. In the end, they are the "forgotten" ones, because they have been sidelined for years in the history of art, relegated to the rank of muses, models and companions. Their absence is glaring and it is undoubtedly this absence that these images attempt to highlight". Anaïs Boudot ABOUT ANAÏS BOUDOTBorn in Metz in 1984, Anaïs Boudot graduated from the École nationale supérieure de la photographie in 201.

Hardcover. Condition: new. Hardcover. Almost a century later, at a time when young artists are coming back to ancient processes for contemporary expression, how can we reinterpret and extend this face-to-face encounter between the artist and the glass plate, its light and its material? In the same way, in an era that claims the place of women in the history of art, how can we question or shake up this so ordinary phenomenon of domination, whether it is the relationship to women of the artists themselves, or a certain form of resistance still today to place women artists at the heart of the creation.We have chosen to ask Anais Boudot to take up this challenge, that of an artistic confrontation around the cliche under glass, as well as that of a response to the veil that has long been imposed on women artists. Anais Boudot has created a series of works on a set of anonymous glass plates from her collection, all of which represent female figures. A modernity in the materials, in the light as well as in the tone that both challenges and imposes itself in this vis-a-vis with Picasso and Brassai.It was following a glass plate forgotten by Brassai in Picassos studio that the latter began to develop a particular work on this medium. And indeed, it is no longer virgin, exclaimed Brassai when he discovered the plate reworked by Picasso, as Heloise Conesa recalls in her introduction. Taking up the words of Anne Baldassari, she continues: The artist-toro bends over the mortal wound that he inflicts on reality so that the figure so beautiful on the silver plate may emerge. A few years later, Brassai began his Transmutations series in which he engraved not on blank plates but on original negatives.Faced with these two sacred monsters of modern art, Anais Boudot responds to an invitation from The Eyes, by taking her own collection of anonymous faces on glass, to rework them with gelatin. Among these portraits of anonymous people from the 20s, 30s and 40s, womens faces stand out. Where Picasso and Brassais scratching of the gelatin is similar to a surgical act much more intrusive to bring out the plasticity of the work, Anais Boudot chooses gilding to restore these images of unknowns, to sublimate the image of these women, these muses so little considered by these masters and forgotten by the history of art. Anais Boudots work is part of this instinctive and experimental approach, that of making the invisible visible.Spending time with these womens faces, while rubbing shoulders with two historical (male) artists with a singular relationship to women, I felt the need to react. In the end, they are the forgotten ones, because they have been sidelined for years in the history of art, relegated to the rank of muses, models and companions. Their absence is glaring and it is undoubtedly this absence that these images attempt to highlight. Anais BoudotABOUT ANAIS BOUDOTBorn in Metz in 1984, Anais Boudot graduated from the Ecole nationale superieure de la photographie in 2010 and from Le Fresnoy studio national dart contemporain in 2013. Anais Boudot pursues a work around the processes of appearance of the image and the exploration of photographic techniques. The artist is represented by the Binome gallery. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Paperback. Condition: New. With this new issue entitled "(After)care", The Eyes explores the methods and approaches of photographers who address the most traumatic chapters of our individual and collective histories. After collaborating with SMITH (Transgalactic, 2020) and Johny Pitts (B-Side, 2021), we invited the Spanish artist Laia Abril to take over the content of the magazine. This issue explores the role of responsibility in the process of photography. Many questions are raised in this issue: how do we portray our deepest wounds? What is the significance of vulnerability in the creation of photographs? How can we ensure that the violence of the world is not repeated through the violence of images? This issue of The Eyes features a variety of works and books by artists who all represent, in their own way, a practice of "photographic care". The works address subjects as diverse as colonial wars, natural disasters, sexual and gender violence, and disability. Texts and interviews with researchers and artists broaden the reflection on this subject, which is as yet little discussed. TEXTS (AFTER)CARETaous DahmaniHistorian of photography and member of the editorial board of The Eyes THE ORGANIC METHODLaia AbrilArtist, researcher and guest curator of The Eyes #13 (AFTER)CARE Daniela Vicherat MattarCare expert, associate professor of sociology at Leiden University in The Hague. HOW WOULD YOU CONSIDER AFTERCARE IN YOUR WORK ?The artists published in the magazine give their views on the notion of aftercare in their artistic practice. Ana Vallejo, Hayley Millar Baker, Hoda Afshar, Kitra Cahana, Margo Ovcharenko, Max Pinckers, Robert Andy Coombs, Masina and Gal, Jérémie Danon. NETWORKS OF MUTUAL CAREA conversation between the two artists, Carmen Winant and Laia Abril PHOTOCAPTIONISTLetizia Lopreiato x Laia AbrilFederica Chiocchetti proposes in these pages a dialogue between the unpublished images of Laia Abril and the poet Letizia Lopreiato. PORTFOLIOS12 ARTISTS PORTFOLIOS Hoda AfsharRobert Andy Coombs Kitra CahanaJoana ChoumaliJe?re?mie DanonMasina and GalHayley Millar BakerMargo OvcharenkoMax PinckersAida SilvestriAna VallejoCarmen Winant.