Through such formal devices as series and multipanel works, JoAnn Verburg invigorates some of photography's common themes - the portrait, the landscape, the domestic view. Some of her work catches viewers off guard, leaving them unsure where they stand in relationship to the scene being shown; others play with the passage of time, offering narratives that play out in either space or time, or both, or neither. The intimate spaces of personal life are another of her ongoing themes, as shown in a series featuring her husband, the poet Jim Moore, reading newspapers or books, or sleeping. The unguarded intimacy of the image strikes one note here; the tension and reality of the current events featured on that day's newspaper strikes another, reaching out of the work into the world, expanding photography's space even further. Whether taking pictures of artists, swimmers, trees or pyramids constructed from sand,Verburg deftly pushes at the boundaries of the representation of time and space.
Here We Are is an anthology of Panos Kokkinias' widely exhibited fine-art photography, from 1994 through 2007. The monograph consists of four sections, each representing different bodies of work linked by a common theme: Kokkinias' personal, ongoing obsession with existential subject matter. · Home (1994-1995), was produced during a difficult personal period for Kokkinias, marked by an eating disorder. To help overcome his troubles, Kokkinias turned the camera onto himself. Gradually his physical presence in the pictures gave way to surrogates for his psychological state. · Interiors (1995-1996), contains depictions of uncommon and unfamiliar interior spaces with the apparition of haunting human figures. Seen from a distance, the subjects are trapped, wandering, and lost, without an apparent escape. · In Landscapes (1996-2001), beneath an omnipresent lens, distant figures roam the countryside with urban neuroses in tow, underscoring their remove from nature and the world around them. · Here We Are (2001-2007), the closing section of the book, examines photography's capacity to consider the existential condition.
For more than half a century The Museum of Modern Art has been recognized for its commitment to the best in contemporary photography from around the world. The Museum was the first to exhibit and publish the work of many artists who are now regarded as masters of twentieth-century photography. Looking toward the new century, the Contemporaries series extends that tradition by making distinguished contemporary photography widely avilable in books of superior quality." "In just over a decade, Judith Joy Ross has created a radically original body of work within the parameters of traditional photographic technique. Using an old-fashioned 8-by-10-inch view camera mounted on a tripod, Ross creates portraits astonishing in their psychological insight. While she has chosen children as a primary subject, work from other series is also represented, including portraits of visitors to the Vietnam Veterans Memorial in Washington, D.C., and of members of the United States Congress." --Book Jacket.
Through such formal devices as series and multipanel works, JoAnn Verburg invigorates some of photography's common themes - the portrait, the landscape, the domestic view. Some of her work catches viewers off guard, leaving them unsure where they stand in relationship to the scene being shown; others play with the passage of time, offering narratives that play out in either space or time, or both, or neither. The intimate spaces of personal life are another of her ongoing themes, as shown in a series featuring her husband, the poet Jim Moore, reading newspapers or books, or sleeping. The unguarded intimacy of the image strikes one note here; the tension and reality of the current events featured on that day's newspaper strikes another, reaching out of the work into the world, expanding photography's space even further. Whether taking pictures of artists, swimmers, trees or pyramids constructed from sand,Verburg deftly pushes at the boundaries of the representation of time and space.
This engrossing book explores the persistent allure of snakes, and traces the aesthetic, religious, and psychological impulses that have led artists thoughout the centuries to make these elusive creatures their subjects. An extraordinary array of illustrations reveals the many roles of the snake in art and history. 157 illustrations, 138 in color.
An affectionate look at the relationship between people and pigs, which has been noted by G.K. Chesterton, Thomas Hardy, George Orwell, Charles Lamb, and others. Sprinkled throughout are sidebars, aphorisms, and little-known facts about this fascinating creature. 165 illustrations, including 90 in full color.
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