New books by subject
Photography - Concordia University Libraries Recent Acquisitions
Titles in the call number range TR1 - TR1050 (Photography) that were added to the Concordia University Libraries collection in the last 60 days.
Hollywood flatlands : animation, critical theory and the avant-garde / Esther LeslieTR 897.5 L47 2002
With ruminations on drawing, color and caricature, on the political meaning of fairy-tales, talking animals and human beings as machines, Hollywood Flatlands brings to light the links between animation, avant-garde art and modernist criticism. Focusing on the work of aesthetic and political revolutionaries of the inter-war period, Esther Leslie reveals how the animation of commodities can be studied as a journey into modernity in cinema. She looks afresh at the links between the Soviet Constructivists and the Bauhaus, for instance, and those between Walter Benjamin and cinematic abstraction. She also provides new interpretations of the writings of Siegfried Kracauer on animation, shows how Theodor Adorno's and Max Horkheimer's film viewing affected their intellectual development, and reconsiders Sergei Eisenstein's famous handshake with Mickey Mouse at Disney's Hyperion Studios in 1930. 10 color and 30 b/w photographs.
Jeff Wall : north & westTR 647 W34 2015
Jeff Wall has lived in his hometown of Vancouver for all but four years of his life. Most of the images he has created are shot in and around that city, yet his art transcends these local subjects and addresses universal themes of history and memory. That explains why his work is celebrated around the world and has been the subject of countless international exhibitions from the Tate Modern, to MoMa, to the Art Institute of Chicago. His importance to photoconceptualism is recognized throughout the art world and his cinematographic pictures are immensely popular with the public and the academy alike. The images he has chosen for North and West explore the meaning of history and how we remember the cities we inhabit. The towns imprinted in our minds no longer exist. Urban landscapes constantly change but the remnants of the past remain and history's influence never ends. North and West is a succinct and indispensible look into the profoundly moving and influential oeuvre of Jeff Wall.
Technologies of vision : the war between data and images / Steve AndersonTR 184 A53 2017eb
An investigation of the computational turn in visual culture, centered on the entangled politics and pleasures of data and images.If the twentieth century was tyrannized by images, then the twenty-first is ruled by data. In Technologies of Vision, Steve Anderson argues that visual culture and the methods developed to study it have much to teach us about today's digital culture; but first we must examine the historically entangled relationship between data and images. Anderson starts from the supposition that there is no great divide separating pre- and post-digital culture. Rather than creating an insular field of new and inaccessible discourse, he argues, it is more productive to imagine that studying "the digital" is coextensive with critical models--especially the politics of seeing and knowing--developed for understanding "the visual."Anderson's investigation takes on an eclectic array of examples ranging from virtual reality, culture analytics, and software art to technologies for computer vision, face recognition, and photogrammetry. Mixing media archaeology with software studies, Anderson mines the history of technology for insight into both the politics of data and the pleasures of algorithms. He proposes a taxonomy of modes that describe the functional relationship between data and images in the domains of space, surveillance and data visualization. At stake in all three are tensions between the totalizing logic of data and the unruly chaos of images.
Stephen Shore / Quentin Bajac ; with additional texts by David Campany, Kristen Gaylord, and Martino StierliTR 647 S47 2017
Organized into 60 thematic sections, this magisterial volume provides a complete overview of Shore's career--from the early portraits of Warhol's Factory to his latest Instagram images
One of the most influential photographers of our time, Stephen Shore has often been categorized as one of a group of artists of the 1970s who captured American popular culture in straightforward, unglamorous color images. While this is true, it is only part of the story: Shore has worked with many forms of photography, switching from cheap automatic cameras to large format in the 1970s, pioneering the use of color film before returning to black and white in the 1990s, and, in the 2000s, taking up the opportunities offered by digital photography, digital printing and social media.
Published to accompany the first comprehensive survey of Stephen Shore's work in the US, this catalog reflects the full range of his contribution, including the gelatin silver prints he made as a teenager (and sold to The Museum of Modern Art); his photographs of the scene at Andy Warhol's Factory, in New York; the color images he made during cross-country road trips in the 1970s; his recent explorations of Israel, the West Bank and Ukraine; and his current work on digital platforms, including Instagram.
This book offers a fresh, kaleidoscopic vision of the artist's extensive career, presenting more than 400 reproductions arranged in a thematic framework, each grouping accompanied by a short but wide-ranging essay. This unique encyclopedia-style format makes visible the artist's versatility of technique and the diversity of his output, reflecting his singular vision and uncompromising pursuit of photography's possibilities.
Stephen Shore (born 1947) was the first living photographer to have a solo show at the Metropolitan Museum of Art in New York since Alfred Stieglitz (40 years earlier). He has also had solo shows at The Museum of Modern Art, New York; George Eastman House, Rochester; Kunsthalle, Dusseldorf; Hammer Museum, Los Angeles; Jeu de Paume, Paris; and the Art Institute of Chicago. Since 1982 he has been the director of the Photography Program at Bard College, New York, where he is the Susan Weber Professor in the Arts.
Haunt / photographs by Misty Keasler ; essays by Andrea Karnes & Margee KerrTR 655 K43 2017
Haunt is the second monograph by Dallas based photographer Misty Keasler and is a portrait of our culture and the study of fear as entertainment in commerical haunted houses. This work took Keasler to 13 haunts throughout the United States over the course of 2 years, where she was given unprecedented access to each location, shooting lengthy time exposures of uninhabited interiors and their facades on film, while additionally shooting formal portraits of their actors in costume. The resulting efforts yielded 146 vividly colorful, yet chilling photographs, that provide the viewer the space to experience the immense detail the proprietors of these haunts pour into them.In her essay, curator Andrea Karnes contextualizes this body of work within the conversation of contemporary photography as well as exploring its ties to the history of painting. An essay by sociologist and author Margee Kerr, provides an insider's glimpse of everything that makes up a great haunt, from the props to the psychological foundation of a good scare.
Lotte Fløe Christensen : constructsTR 655 C5534 2017
In 2009, Lotte Christensen travelled to the Canadian wilderness. As so often before, venturing into nature, she had her camera with her and was out to make pictures. Among mountains and trees, she found a good spot for an image. She put up the camera, ran into the frame and placed herself with a map between her hands. A "click" sounded, but not the usual "clack" of the mirror falling back into place - the camera was out of order. Being far away from civilization with a non - operational camera, the situation all of a sudden felt meaningless. It was the making of images, the exploration and documentation, that was her tool for being in, and dealing with, this foreign landscape. To create felt more important than to be. The act of making images is in itself a way of living life for Danish artist Lotte Christensen. The camera and the act of constructing and making an image is an essential approach to the world in search of an understanding of her place in it. She works as a visua l philosopher with photography and nature to construct images that explore existential issues. She enters the landscape using herself as a measuring tool, gently pulls plants though paper to isolate them from their natural environment, or brings back parts of nature to her outdoor studio to build fragile constructions. In line with the tradition of representing landscape in art history, in Lotte Christensen's work, nature acts as a projection screen for inner human dilemmas. Lotte Christensen's work speaks to the imminent human desire for a sense of meaning in existence: Why am I here in this world? As we measure, categorise and examine the world around us in order to understand and define our lives, we end up building an almost tragi - comical connection to the natural world, such as that of the scientist - at once observing and being part of the natural world. In the images and sculptural work of Christensen, this balance between heartfelt, honest attempts of making meaning and the sometimes humorous results co - exist in a strange and poetical universe
Photography : the unfettered image / Michelle HenningTR 187 H46 2018
We live in a time in which photographs have become extraordinarily mobile. They can be exchanged and circulated at the swipe of a finger across a screen. The digital photographic image appears and disappears with a mere gesture of the hand.
Yet, this book argues that this mobility of the image was merely accelerated by digital media and telecommunications. Photographs, from the moment of their invention, set images loose by making them portable, reproducible, projectable, reduced in size and multiplied. The fact that we do not associate analogue photography with such mobility has much to do with the limitations of existing histories and theories of photography, which have tended to view photographic mobility as either an incidental characteristic or a fault.
Photography : The Unfettered Image traces the emergence of these ways of understanding photography, but also presents a differently nuanced and materialist history in which photography is understood as part of a larger development of media technologies. It is situated in much broader cultural contexts: caught up in the European colonial ambition to "grasp the world" and in the development of a new, artificial "second nature" dependent on the large-scale processing of animal and mineral materials. Focussing primarily on Victorian and 1920s-30s practices and theories, it demonstrates how photography was never simply a technology for fixing a fleeting reality.
Incarnations : the photographs of Janieta Eyre / edited by Suzanne ZelazoTR 647 E97 I53 2017
Incarnations showcases twenty years of Eyre's uniquely performative portraits deconstructing what it means to be a thinker, woman, and subject. Incarnations is the first collection to make accessible a representative body of work by one of Canada's most original, provocative, and internationally acclaimed photographers. Spanning the artist's seven major series dating from 1993 to 2013, Incarnations showcases and celebrates the theatricality and carnivalesque abandon that has become the hallmark of Eyre's portraits. With contributions from renowned Canadian poets, playwrights, and novelists including Christian B�k, Lynn Crosbie, and RM Vaughan, as well as the Chicago Tribune 's Lori Waxman, Incarnations highlights the ways, as James D. Campbell writes, �[Eyre] stops us in our tracks at every juncture with the stark, hallucinatory clarity of her visual language.'