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Photography

Joachim Schmidt (Balingen, 1955), paradoxically known as “the photographer who takes no photographs”, has worked with photography since the early 1980s without producing any images of his own. Asserted in 1989 on the 150th anniversary of the invention of this medium, the principle of taking no new photographs until use has been made of those already existing is one to which he still adheres. In the present-day civilization of images characterized by an ever-greater proliferation of photographs to the point of habituation and meaninglessness, Schmidt has decided to halt production and confine himself to seeking out, collecting and using photographs already taken by others. This boundless material also include picture cards, exhibition invitations, posters, postcards, photos found in flea markets and archives, and images downloaded from websites and social networks. The German artist captures them from the great flow of contemporary communication, files them, appropriates them, combines them with one another and sometimes manipulates them in search of possible new meanings. A collector, recycling enthusiast, cataloguer and environmentalist therefore rather than a photographer, Schmid has left his imprint on theoretical debate about this medium. His stance combines two fundamental themes of contemporary art, namely Duchamp’s idea of the ready-made and the “death of the author” envisaged by Roland Barthes. Having investigated all the forms of mass photography and all of the different associated languages, He has probably seen but above all used more images than anyone else in the world over the last few decades. His new and ironic call today is therefore for people not to stop taking photographs.
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Joachim Schmid e le fotografie degli altri

publisher: Johan & Levi

pages: 88 pages

Joachim Schmidt (Balingen, 1955), paradoxically known as “the photographer who takes no photographs”, has worked with photography since the early 1980s without producing any images of his own. Asserted in 1989 on the 150th anniversary of the invention of this medium, the principle of taking no new photographs until use has been made of those al

Lartigue

L'album di una vita 1894 - 1986

publisher: Johan & Levi

pages: 400 pages

Jacques Henri Lartigue (Courbevoie, 1894 – Nice, 1986) had his first camera at just eight years of age and from then on never ceased to take pictures of a gay and carefree life: children’s games, picnics, elegant ladies in the Bois de Boulogne, trips with friends, car races and the first aeroplanes. The albums built up over a lifetime are a met
This book is the first in the last thirty years devoted exclusively to the photographic work of Robert Rauschenberg (1925–2008). Through examination of the photographs taken in the crucial period from 1949 to 1962, Nicholas Cullinan retraces the artist’s trajectory, reconsidering his work as a whole – including painting, collage, sculpture and performance as well as a mixture of all these elements – from an essentially photographic viewpoint. Rauschenberg began to study and use photography in his works in the late 1940s and early ’50s at Black Mountain College in North Carolina, and felt its attraction so strongly as to be torn for a certain period between it and painting. In the end, he chose both. The photographic dimension (images taken from the mass media and found photographs as well as his own personal snapshots, family photos and landscapes) distinguishes his combines, transfer drawings and silkscreen paintings, developing still further in the Spreads and Scales series to culminate in the last works of the Runts series. In addition to finding a place as elements of his works, some of Rauschenberg’s photographs also serve as documentation, casting light on works either lost or undergoing transformation, configuration and reconfiguration. There are also shots of artist friends like Cy Twombly, Jasper Johns, Willem de Kooning, Merce Cunningham and John Cage engaged in creative action. According to the American curator Walter Hopps, “The use of photography has long been an essential device for Rauschenberg's melding of imagery ... [and] a vital means for Rauschenberg's aesthetic investigations of how humans perceive, select and combine visual information. Without photography, much of Rauschenberg's oeuvre would scarcely exist.” As the artist himself said to Barbara Rose, “I’ve never stopped being a photographer.”
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Robert Rauschenberg

Fotografie 1949-1962

Robert Rauschenberg

publisher: Johan & Levi

pages: 208 pages

This book is the first in the last thirty years devoted exclusively to the photographic work of Robert Rauschenberg (1925–2008). Through examination of the photographs taken in the crucial period from 1949 to 1962, Nicholas Cullinan retraces the artist’s trajectory, reconsidering his work as a whole – including painting, collage, sculpture an

Pier Paolo Pasolini

Fotografie di Dino Pedriali

publisher: Johan & Levi

pages: 128 pages

The book presents 78 photographs that Pier Paolo Pasolini commissioned Dino Pedriali to take over two sessions of two days each at his two houses in Chia and Sabaudia in the second week of October 1975. According to the photographer, Pasolini intended to use them in his last novel, Petrolio, which was published posthumously. Pedriali was to have me
Vitalità del negativo nell’arte italiana 1960-70, the first show organized by the Rome-based association Incontri Internazionali d’Arte, founded by Graziella Lonardi Buontempo, initiated a major effort to promote contemporary art, both Italian and foreign. The 33 artists featured are now emblematic of Italian art in the 1960s and ’70s: Vincenzo Agnetti, Carlo Alfano, Getulio Alviani, Franco Angeli, Giovanni Anselmo, Alighiero Boetti, Agostino Bonalumi, Davide Boriani, Enrico Castellani, Gianni Colombo, Gabriele De Vecchi, Luciano Fabro, Tano Festa, Giosetta Fioroni, Jannis Kounellis, Francesco Lo Savio, Renato Mambor, Piero Manzoni, Gino Marotta, Manfredo Massironi, Fabio Mauri, Mario Merz, Giulio Paolini, Pino Pascali, Vettor Pisani, Michelangelo Pistoletto, Mimmo Rotella, Piero Sartogo, Paolo Scheggi, Mario Schifano, Cesare Tacchi, Giuseppe Uncini and Gilberto Zorio. Ugo Mulas, the photographer most closely involved with the international art scene at the time, was commissioned to cover the event, which he did in his unmistakable style. The 130 photographs taken, which remained largely unpublished on their author’s death at an early age, now appear in this volume some forty years later. They capture the artists, the installations and the visitors in an extraordinarily lucid photographic reading a crucial exhibition for Italian contemporary art. The book also provides useful insight into the history of photography, shedding light on the photographer’s work and his dialogue with artists. It was during the show’s inauguration that Mulas took one of the first shots of the “Verifications” series, regarded as among the most important photographic works of the period in terms of formal rigour and analysis of the medium.
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Ugo Mulas. Vitalità del negativo

Documenting the Seminal Exhibition of the Italian Avant-garde

publisher: Johan & Levi

pages: 208 pages

Vitalità del negativo nell’arte italiana 1960-70, the first show organized by the Rome-based association Incontri Internazionali d’Arte, founded by Graziella Lonardi Buontempo, initiated a major effort to promote contemporary art, both Italian and foreign. The 33 artists featured are now emblematic of Italian art in the 1960s and ’70s: Vinc
Photography has come to be identified internationally with the artistic production of Düsseldorf over the last few decades, and the consolidated Düsseldorf School today epitomizes excellence in its highly varied and innovative practice of the medium. The extraordinary success of this phenomenon, developed in a very precise geographic and artistic context, has not given rise as yet, however, to in-depth examination. This book intends to fill the gap with an organic study of a German movement that is comparable in terms of global impact and resonance solely to the Bauhaus in the 1920s. It all started with Bernd and Hilla Becher, who inaugurated the photography course at the Kunstakademie Düsseldorf in 1976, precisely when their “typologies” were gaining recognition on the national and international artistic scene. Starting from the renewal of documentary photography pursued by the Bechers with the utmost coherence and commitment, the three generations of artists of the Düsseldorf School have broadened the photographic horizons considerably, venturing with their works into the spheres of multimedia experimentation and digital art. Highly prized on the market and sought after by the world’s leading museums, the works of the Bechers’ former students shed light today on the future developments of the art of photography. Eleven different aesthetic stances and eleven very personal approaches to harnessing the medium’s potential are gathered together in a book that presents the most significant photographs selected jointly with the individual artists concerned. The text by Stefan Gronert (1964) examines the phenomenon and focuses on the members of the Düsseldorf School. An art historian, curator at the Bonn Kunstmuseum since 1993, teacher in the art history department of Bonn University since 2001 and lecturer in the universities of Dresden and Cologne, Gronert has written numerous publications and papers on the photography of the 20th and 21st century.
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La Scuola di Düsseldorf

Fotografia contemporanea tedesca

Stefan Gronert

publisher: Johan & Levi

pages: 320 pages

Photography has come to be identified internationally with the artistic production of Düsseldorf over the last few decades, and the consolidated Düsseldorf School today epitomizes excellence in its highly varied and innovative practice of the medium. The extraordinary success of this phenomenon, developed in a very precise geographic and artistic

Georgia O'Keeffe / John Loengard

Dipinti e fotografie

John Loengard, Georgia O'Keeffe

publisher: Johan & Levi

pages: 80 pages

The photographer John Loengard was just thirty when Life magazine sent him to the barren wastes of New Mexico in 1966 and 1967 to take a series of photographs for the eightieth birthday of Georgia O’Keeffe. The great lady of American painting had been living on her own at Ghost Farm near Abiquiu for twenty years. Already enjoying a world-wide rep

Biblioteche

Candida Höfer

publisher: Johan & Levi

pages: 272 pages

Libraries are spiritual places, sanctuaries of knowledge, temples of wisdom, oases of silence. From the splendid baroque libraries of monasteries to the age-old archives of the most illustrious universities, from the rich cabinets of enlightened princes to the most sober and functional buildings, they all are imbued with a sort of sacral solemnity.

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