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Libri sul tema "Photographic distance"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 11 febbraio 2022

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1

Lussier, Réal. Tenir l'image à distance. Montréal: Musée d'art contemporain de Montréal, 1989.

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2

Le regard imparfait: Réalité et distance en photographie. Paris: Harmattan, 2001.

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3

K, Murphy Erin, e Dallas Museum of Art, a cura di. Willie Doherty: Requisite distance : ghost story and landscape. Dallas, Tex: Dallas Museum of Art, 2009.

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4

Pfahl, John. A distanced land: The photographs of John Pfahl. Albuquerque: Published by the University of New Mexico Press in association with Albright-Knox Art Gallery, 1990.

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5

Estelle, Jussim, Albright-Knox Art Gallery, Art Institute of Chicago e High Museum of Art, a cura di. A distanced land: The photographs of John Pfahl. Albuquerque: Published by the University of New Mexico Press in association with Albright-Knox Art Gallery, 1990.

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6

Aires sans distance: Germaine Beaulieu ; avec douze photographies de l'auteure. Saint-Lambert, Québec: Editions du Noroît, 1988.

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7

Dierk Maass: Sense° ofʹ distanceʺ. Heidelberg: Kehrer, 2010.

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8

1955-, Pohanka Brian C., a cura di. Distant thunder: A photographic essay on the American civil war. Charlottesville, Va: Thomasson-Grant, 1988.

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9

Christine, Olsenius, a cura di. Distant shores: Photographs from Lake Superior and Lake Michigan. Two Harbors, Minn: Bluestem Productions, 1990.

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10

1975-, Gutiérrez Arsenio, e Hernández Jorge Luis 1966-, a cura di. Cuerpos distantes: Tres fotógrafos en Querétaro : Demián Chávez, Arsenio Gutiérrez, Jorge Luis Hernández. Santiago de Querétaro, Qro. [Mexico]: Fondo Editorial de Querétaro, 2004.

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11

John Shaw's closeups in nature. New York: AMPHOTO, 1987.

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12

In Appropriate Distance: The Ethics of the Photographic Essay. University of New Mexico Press, 2016.

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13

Distance and Desire. Steidl, 2013.

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14

Pathos As Distance. Kehrer Verlag Heidelberg, Klaus Kehrer, 2018.

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15

A Distanced Land. University of New Mexico Press, 1990.

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16

White, Darcy, e Chris Goldie, a cura di. Proximity and Distance in Northern Landscape Photography. transcript-Verlag, 2020. http://dx.doi.org/10.14361/9783839449509.

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17

1931-, Becher Bernd, Finkeldey Bernd, Müller Maria e Kunstammlung Nordhrein-Westfalen (Germany), a cura di. Aus der Distanz: Photographien. Düsseldorf: Kunstsammlung Nordrhein-Westfalen, 1991.

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18

1942-, Coventry Virginia, a cura di. The Critical distance: Work with photography, politics, writing. Sydney, NSW: Hale & Iremonger, 1986.

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19

Campany, David, author of added text e Tylevich, Katya, author of added text, a cura di. Intimate distance: Twenty-five years of photographs, a chronological album. 2016.

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20

Jussim, Estelle. A Distanced Land: The Photographs of John Pfahl. Univ of New Mexico Pr, 1990.

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21

Jussim, Estelle. A Distanced Land: The Photographs of John Pfahl. Univ of New Mexico Pr, 1990.

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22

Crist, Steve, e Chris Burkard. Distant Shores (popular Edition). AMMO Books, LLC, 2017.

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23

Deep distance: Die Entfernung der Fotografie : 13. Mai bis 13. August 2000. Basel: Schwabe, 2000.

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24

Close Up at a Distance. Zone Books, 2013.

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25

Pohanka, Brian. Distant Thunder: A Photographic Essay on the American Civil War. Grant Thornton, 1988.

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26

Goldie, Chris, e Darcy White. Proximity and Distance in Northern Landscape Photography: Contemporary Criticism, Curation and Practice. Transcript Verlag, 2020.

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27

Sandler, Willeke. Seeing the Colonies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190697907.003.0008.

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Abstract (sommario):
This chapter examines colonialists’ use of visual culture to develop metropolitan Germans’ identification with the distant colonial territories. Colonialists mobilized a variety of visual forms, including posters and photography, to reach Germans who had seemed unresponsive to their written and oral propaganda. These images, which colonialists believed had a unique power to transcend viewers’ critical distance, would provide an “experience” of the colonies. Broadly speaking, colonialist visual culture focused on three themes: the creation of a German Heimat in the African landscape, the heroism of colonial Germans, and Germans’ protection of an “authentic Africanness” through their benevolent colonialism. In this arena as well, however, colonialists faced a wealth of visual representations of Africa created by other sources. As case studies of these other representations, the chapter examines Werner Peiner’s African paintings, the commercial imagery of Reklamesammelbilder (illustrated trading cards), and feature films with colonial or African themes.
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28

Olsenius, Richard. Distant Shores: Music & Photographs from Lake Superior & Lake Michigan. University of Minnesota Press, 1995.

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29

(Photographer), Richard Olsenius, a cura di. Distant Shores: Photographs from Lake Superior and Lake Michigan. Pfeifer-Hamilton Pub, 1995.

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30

Ana, Salaverría, Ordóñez Sergio, Koldo Mitxelena Kulturunea (San Sebastián, Spain) e Guipúzcoa (Spain). Excma. Diputación Foral., a cura di. Distantzia kritikoa: Ordóñez-Falcón bildumako argazkiak : erakusketa 1998ko otsailaren 17tik apirilaren 18ra arte, Koldo Mitxelena Kulturunea, Donostia = La distancia crítica : obras fotográficas de la colección Ordóñez-Falcón : exposición del 17 de febrero al 18 de abril de 1998, San Sebastián. [San Sebastián]: Diputación Foral de Guipuzkoa, 1998.

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31

Olsenius, Richard. Distant Shores: Music and Photographs from Lake Superior and Lake Michigan. University of Minnesota Press, 1995.

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32

Olsenius, Richard. Distant Shores: Music and Photographs from Lake Superior and Lake Michigan. University of Minnesota Press, 1995.

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33

Redenbaugh, Sean. Distant Lands of Solitude: The Photographs and Writings of Sean Redenbaugh. AuthorHouse, 2006.

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34

Distant Shores: Music and Photographs from Lake Superior and Lake Michigan. Bluestem Prod, 1990.

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35

Kurgan, Laura. Close up at a Distance: Mapping, Technology, and Politics. MIT Press, 2013.

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36

Kurgan, Laura. Close up at a Distance: Mapping, Technology, and Politics. Zone Books, 2013.

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37

Afghanistan: A Distant War. Prestel, 2013.

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38

inSites_05/Farsites>Sitios distantes. San Diego Museum of Art, 2005.

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39

Vettese, Maria Alexandra, Molly Wizenberg e Stephanie Congdon Barnes. Year Between Friends: Crafts, Recipes, and Stories. Abrams, Inc., 2016.

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40

Barnes, Stephanie Congdon, 1970- author, a cura di. A year between friends: 3191 miles apart : crafts, recipes, letters, and stories. Harry N. Abrams, 2016.

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41

Short Stalks At Distant Shores Imaging Postsoviet Space. Hatje Cantz, 2013.

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42

Kingdom, Frederick A. A., Ali Yoonessi e Elena Gheorghiu. The Leaning Tower Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199794607.003.0021.

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Abstract (sommario):
The Leaning Tower Illusion is the illusion in which two identical images of the Leaning Tower of Pisa photographed from below, placed side by side, appear to rise at different angles. The illusion is not restricted to the Pisa tower however; it occurs in any pair of identical images of objects that appear to recede into the distance. This chapter argues that the illusion results from the misapplication of the visual system’s in-built mechanisms for correcting the distortions due to perspective in two-dimensional images of three-dimensional scenes. The relationship between the Leaning Tower illusion and size constancy illusions is discussed, and it is concluded that they are likely to be closely related.
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43

Distant Wars Visible: The Ambivalence of Witnessing. Univ Of Minnesota Press, 2014.

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44

Kozol, Wendy. Distant Wars Visible: The Ambivalence of Witnessing. Univ Of Minnesota Press, 2014.

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45

Robert Frank, Ferne Nähe/ Hommage für / Distant Closeness/ A Tribute to Robert Walser, 21 Photographs. 2012.

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46

Godfrey, Donald G. Radio Pictures: Going Operational. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038280.003.0009.

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Abstract (sommario):
This chapter focuses on C. Francis Jenkins' demonstrations of RadioVision and his radio-pictures technology. The earliest “official demonstration,” as Jenkins called it, of radio transmission of photographs took place on December 12, 1922, with leaders of the military and the motion-picture industry in attendance. Jenkins transmitted still pictures between his lab and the Anacostia naval radio station NOF in Washington, D.C. On March 3, 1923, under the auspices of the North American Newspaper Alliance, radio photos were publically demonstrated, this time transmitting over a distance of 130 miles from NOF in Anacostia to the Philadelphia Evening Bulletin's newspaper building. This chapter discusses Jenkins' other demonstrations of his pictorial transmissions, along with his establishment of the Radio Pictures Corporation. It also considers Jenkins' participation in a project with a network of scientists from the U.S. Signal Corps, who were listening for radio signals from Mars; his collaboration with the American Radio Relay League; and his wireless transmission of weather maps.
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47

Wulf, Herzogenrath, a cura di. Distanz und Nähe: Fotografische Arbeiten von Bernd und Hilla Becher, Andreas Gursky, Candida Höfer, Axel Hütte, Simone Nieweg, Thomas Ruff, Jörg Sasse, Thomas Struth, Petra Wunderlich. [Stuttgart?]: Institut für Auslandsbeziehungen, 1992.

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48

Crane, Susan A., Beate Dignas, Gerald Schwedler, Marek Tamm, Patrick Hutton, Susan A. Crane, Stefan Berger, Alessandro Ancangeli e William Niven, a cura di. A Cultural History of Memory in the Nineteenth Century. Bloomsbury Publishing Plc, 2020. http://dx.doi.org/10.5040/9781474206792.

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Abstract (sommario):
A Cultural History of Memory in the Nineteenth Century comprises scholarly inquiry into representations of memory and historical cultures during the ‘long nineteenth century’. In the era that invented photography, revised the history of the earth, and saw innovative communication and transportation technologies transform the experience of time and distance, both personal and collective memories were translated into new forms of expression. Material cultures of memory produced relics and souvenirs within institutions such as museums and archives dedicated to preservation, while commemorative practices expanded within both the private sphere and the growing public sphere, generating monuments and memorials while erasing other stories about the meaning of the past. Innovative writers and thinkers creatively engaged ‘memory’ in ways which continue to shape psychology, history and literature today. In this volume, thematic chapters survey representations of memory in power and politics; remembering and forgetting; time and space; media and technology; knowledge, science and education; high culture and popular culture; philosophy, religion and history; and rituals and faith practices in everyday life.
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49

Ostermann, Anja. Composition Notebook: There's a Scar on Your Heart, but Your Journey's Just Begun... a Distant Light That's Worth the Fight. Photography Notebook Journal Notebook Blank Lined Ruled 6x9 100 Pages. Independently Published, 2020.

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50

The New world in 1859: Being the United States and Canada, illustrated and described in four parts ... illustrated with one hundred and twenty-five engravings from photographic and pencil sketches of the most celebrated river, lake, mountain and fall scenery in the United States and Canada : together with routes of travel, fares, distances, etc., etc., etc. New York: H.Bailliere, 1985.

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