{"title":"Photography Theory","description":"","products":[{"product_id":"remi-coignet-conversations","title":"Remi Coignet - Conversations","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eSince 2008, \u003c\/span\u003e\u003cb\u003eRémi Coignet\u003c\/b\u003e\u003cspan\u003e has pursued engagements with those artists that inspire him, and for whom the photobook is an essential form in their work. In this book, a selection of more than 20 photographers, publishers and curators reread their respective work, and reveal their intentions in the process. It is Coignet’s hope that from these interviews a geography of contemporary photography will emerge. With photobooks and the series that artists tend to conceive as a foundation to conversation, he approaches \u003c\/span\u003e\u003cb\u003eIrène Attinger, Lewis Baltz, JH Engström, Ethan Levitas, Daido Moriyama, Lesley A. Martin, Anders Petersen, Paul Graham, Raphaël Dallaporta\u003c\/b\u003e\u003cspan\u003e and many others. Thanks to \u003c\/span\u003e\u003cb\u003eThe Eyes Publishing\u003c\/b\u003e\u003cspan\u003e (Paris).\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e246 pages, 13 x 20 cm, paperback, The Eyes Publishing (Paris).\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"The Eyes Publishing","offers":[{"title":"Default Title","offer_id":1220630269,"sku":"","price":47.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/products\/IMG_9048_670.JPG?v=1429767518"},{"product_id":"salt-and-silver-early-photography-1840-1860","title":"Salt and Silver: Early Photography 1840–1860","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"maincontainer\" class=\"bodycopy\"\u003e\n\u003cdiv class=\"entry\" id=\"entry_9761645\" page_type=\"project\"\u003e\n\u003cdiv class=\"project_content\"\u003e\n\u003cp\u003eSalt prints are the very first photographs on paper that still exist today. Made in the first 20 years of photography, they are the results of esoteric knowledge and skill. Individual, sometimes unpredictable, and ultimately magical, the chemical capacity to ‘fix a shadow’ on light sensitive paper, coated in silver salts, was believed to be a kind of alchemy, where nature drew its own picture. Salt and Silver brings together over 100 plates drawn from the Wilson Centre for Photography, accompanied by two roundtable discussions with curators, academics, historians and collectors from world renowned institutions. Encompassing many of the great works of the period, the publication – published by \u003cb\u003eMACK \u003c\/b\u003e(London) – includes prints by \u003cb\u003eEdouard Baldus, Louis Blanquart-Evrard, Mathew Brady, Charles Clifford, Louis De Clercq, Maxime Du Camp, Roger Fenton, Jean-Baptiste Frenet, Charles Hugo, David Octavius Hill, Robert Adamson, Calvert Richard Jones, Gustave Le Gray, Henri Le Secq, Charles Marville, Felix Nadar, Charles Negre, Felice Beato, Auguste Salzmann, William Henry Fox Talbot, Felix Teynard \u003c\/b\u003eand\u003cb\u003e Linnaeus Tripe\u003c\/b\u003e. Introduction by \u003cb\u003eSimon Baker\u003c\/b\u003e (curator, Tate Modern). \u003cbr\u003e\u003cdirectlink id=\"dl_9761645\" link=\"http:\/\/perimeterbooks.com\/Salt-and-Silver-Early-Photography-1840-1860\"\u003e\u003c\/directlink\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e196 pages, 28 cm x 23.5 cm, softcover, MACK (London).\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"project_bottom\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"page_1\"\u003e\n\u003cdiv class=\"project_thumb\" id=\"item_9687264\" name=\"9687264\" page=\"1\" spot=\"-1\"\u003e\n\u003cdiv id=\"pr_contain_item_9687264\"\u003e\u003ca href=\"http:\/\/perimeterbooks.com\/VAABF-2015\" class=\"nohover\" id=\"p9687264\" rel=\"history\" name=\"perimeterbooks\" onmouseover=\"this.className='hover';\" onmouseout=\"this.className='nohover';\" onfocus=\"this.blur()\"\u003e\u003c\/a\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"MACK","offers":[{"title":"Default Title","offer_id":1224389113,"sku":"","price":86.0,"currency_code":"AUD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0734\/3927\/products\/IMG_9159.JPG?v=1429861858"},{"product_id":"david-campany-a-handful-of-dust","title":"David Campany - a Handful of Dust","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cstrong\u003e\u003ci\u003ea Handful of Dust\u003c\/i\u003e\u003c\/strong\u003e\u003cspan\u003e is \u003c\/span\u003e\u003cb\u003eDavid Campany\u003c\/b\u003e\u003cspan\u003e’s speculative history of the last century, and a visual journey through some of its unlikeliest imagery. Let’s suppose the modern era begins in October of 1922. A little French avant-garde journal publishes a photograph of a sheet of glass covered in dust. The photographer is \u003cstrong\u003eMan Ray\u003c\/strong\u003e, the glass is by \u003cstrong\u003eMarcel Duchamp\u003c\/strong\u003e. At first they called it a view from an aeroplane. Then they called it Dust Breeding. It’s abstract, it’s realist. It’s an artwork, it’s a document. It’s revolting and compelling. Cameras must be kept away from dust but they find it highly photogenic. At the same time, a little English journal publishes\u003cstrong\u003e TS Eliot\u003c\/strong\u003e’s poem The Waste Land. \u003cem\u003e“I will show you fear in a handful of dust.”\u003c\/em\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003cspan\u003eAnd what if dust is really the key to the intervening years? Why do we dislike it? Is it cosmic? We are stardust, after all. Is it domestic? Inevitable and unruly, dust is the enemy of the modern order, its repressed other, its nemesis. But it has a story to tell from the other side.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\u003cstrong\u003eCampany\u003c\/strong\u003e’s connections range far and wide, from aerial reconnaisance and the American dustbowl to Mussolini’s final car journey and the wars in Iraq. a \u003cstrong\u003eHandful of Dust\u003c\/strong\u003e will accompany Campany’s exhibition of the same name, curated for Le Bal, Paris (16 October 2015 – 17 January 2016), with works by\u003cstrong\u003e Man Ray, John Divola, Sophie Ristelhueber, Mona Kuhn, Gerhard Richter, Xavier Ribas, Nick Waplington, Jeff Wall\u003c\/strong\u003e and many others, alongside anonymous press photos, postcards, magazine spreads and movies. 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In this book, a selection of more than 20 photographers, publishers and curators reread their respective work, and reveal their intentions in the process. It is Coignet’s hope that from these interviews a geography of contemporary photography will emerge. A set of nearly twenty new talks with major players in contemporary photography: \u003cb\u003eErik Kessels, Gerhard Steidl, Martin Parr, Stéphanie Solinas, Joan Fontcuberta, Patrick Feigenbaum, Alec Soth, Joan Fontcuberta, Christian Patterson, Mariken Wessels, \u003c\/b\u003eand many more. 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The artists discussed are Tine Guns, Dirk Braeckman, Els Martens, Max Pinckers, Vincent Delbrouck and Aglaia Konrad.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eIn recent years, the book has firmly established itself as an artistic medium for photography. Open a photobook today and with any luck you will enter a world full of visual twists and turns. A previously enclosed block suddenly becomes an open volume, and through that volume you can move and navigate. 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Taylor riffs on and subverts Roland Barthes’ classic 1977 essay collection, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eImage Music Text\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e, using his title as playful points of departure for her thinking about the nature of image-text works and the music that might be made at their intersection.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThese meditative and analytical essays pose vital questions about the psychological and political possibilities for image-text works. Taylor rejects overarching statements about medium or genre in favour of observations of the particular to reveal broader ways of reading that are at once familiar and disorientating.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe reflections in \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003eImage Text Music\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e are at once critical and celebratory, dystopian and utopian, investigative and contemplative, didactic and dreamlike. 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Hare would subsequently donate his entire archive to the Bancroft Library at the University of California—notably not the Berkeley Museum of Art—with the provision that the original prints cannot be exhibited and that any reproduction of his work must include a caption that states that the photograph was created “to protest and warn against the growing domination of working people by multinational corporations and their elite owners and managers.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci data-mce-fragment=\"1\"\u003eQuitting Your Day Job\u003c\/i\u003e\u003cspan data-mce-fragment=\"1\"\u003e considers the vexed relation between art and politics that defined Hare’s career, drawing upon largely unexamined archival materials, new interviews and analysing Hare’s brilliant and moving photographs alongside the prolix and oftentimes bathetic prefaces he wrote for the three collections of his photographs. 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