Escolar Documentos
Profissional Documentos
Cultura Documentos
Snapshots from the moon: NASA photographs from the earliest manned space flights.
NASAs Apollo program landed the first humans on the moon in 1969. In the next three years,
Apollo sent 10 more men to the moon in five subsequent missions. The first moon landing in
particular is a legendarily well-documented event, representing one of those rare moments in
which the world was united in awe, witnessing the feat together on their television screens. But
each Apollo mission also generated hundreds of photographs, many of which have only recently
been released by NASA. A selection of these images--shot by the astronauts themselves with
suit-mounted and handheld Hasselblad cameras--are gathered in this beautifully designed,
affordable volume.
Many of the photographs, though shot originally for scientific, documentary purposes, have an
extraordinary snapshot quality, boasting inadvertently artful compositions and effects: in one, a
pair of astronauts legs emerges upside down from the bottom of the frame; in another, a striding
astronaut appears to glow against the black recesses of space.
Contextualized with background information about the Apollo Missions and the role of
photographic documentation in them, the photographs in The Moon 19681972 are fascinating
documents of the majesty of outer space, but also record the surface of the moon as a landscape
of wonder. This is the moon of which E.B. White wrote in the July 1969 issue of The New Yorker:
The moon, it turns out, is a great place for men. One-sixth gravity must be a lot of fun, and when
Armstrong and Aldrin went into their bouncy little dance, like two happy children, it was a moment
not only of triumph but of gaiety.
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OSMOS Magazine is an art magazine about the use and abuse of photography, explains
founder and editor Cay Sophie Rabinowitz (formerly of Parkett and Fantom). The magazine is
divided into thematic sectionssome traditional, such as Portfolio, Stories and Reportage
and others more idiosyncratic, such as Eye of the Beholder, where gallerists discuss the talents
they showcase; and Means to an End, on the side effects of non-artistic image production. This
issue includes a feature by contributing editor Tom McDonough on photographer Eileen Quinlan,
reportage by photographer Alex Welsh, an essay by Jeffrey Kirkwood describing his research on
the innovative Swiss artist and filmmaker Klaus Lutz, and an examination of Paris-based Dove
Allouche by curator Drew Sawyer.
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As a small boy growing up in the Japanese countryside, photographer Masao Yamamoto enjoyed
looking up at the sky. From his classroom window, he would gaze at the windblown clouds,
mesmerized by airborne creatures such as birds, butterflies and winged insects. He sometimes
dreamed of riding on the back of a bird and flying away to faraway places.
Yamamotos career as a photographer began in 1993. One of Japans most important living
photographers, Yamamoto has taken many different approaches to photography over the past 20
years. But what has remained constant is the artists belief that humans are just a small part of
nature, united with it and part of it. Throughout his career, Yamamoto has often returned to
animals, particularly birds, as a subject, reflecting his childhood fascination with the creatures and
his eternal commitment to the unity of humanity and nature. With Tori, the photographer departs
on yet another artistic journey, with a new series of quietly moving animal images (tori means
bird in Japanese). Yamamoto asks himself, and his viewers: What do we see, and what do we
identify with, in birds?
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This series by photographer Justin Kimball (born 1961) features small towns in New York,
Massachusetts, Pennsylvania and Ohio brought to the brink of obsolescence by the recent
financial downturn, capturing their streets, residents and landscapes in photographs both
sensitive to their subjects and compositionally striking.
While imbued with social and political subtext, Kimballs images--of ramshackle buildings against
a landscape, a mother and baby on their front porch, roadside church signs and teenagers
playing a game of pickup basketball--carry a broader significance. In his depiction of communities
faced by hardship, Kimball examines the persistence of hope and the concept of what it means to
be human in our modern world. His photographs document a growing--yet often overlooked--
portion of the American landscape, providing an impressive portrait of the present day.
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In 2005, photographer and poet Rebecca Norris Webb (born 1956) set out to photograph her
home state of South Dakota, a sparsely populated frontier state on the Great Plains with more
buffalo, pronghorn, mule deer and prairie dogs than people. Its a land of powwows and rodeos,
buffalo roundups and the worlds only corn palace. Dominated by space and silence, South
Dakotas harsh and beautiful landscape can be tough and unforgiving, prey to brutal wind and
extreme weather. This was the South Dakota Norris Webb set out to photograph.
The next year, however, everything changed for Norris Webb, when one of her brothers died
unexpectedly of heart failure. For months, she writes in the afterword to this volume, one of the
few things that eased my unsettled heart was the landscape of South Dakota I began to
wonderdoes loss have its own geography?
An instant classic of the genre, Norris Webbs beautiful photobook is now back in print in a
second edition. Rebecca Norris Webb: My Dakotawhich interweaves the photographers lyrical
images and spare text, reproduced in her own scrawling penmanshipis a small, intimate book
about the West and its weathers, and an elegy for a lost brother.
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Known primarily for her visionary art collecting, Virginia Dwan (born 1931) showed artists such as
Robert Rauschenberg, Yves Klein, Ad Reinhardt, Joan Mitchell and more at her Los Angeles
gallery in the 1960s. But Dwan has her own artistic practice, and has dedicated the last three and
a half years to documenting military graves in cemeteries across the United States. This
collection of photographs, accompanying an exhibition that will travel to the National Gallery of Art
in Washington, DC, and the LACMA in Los Angeles, serves as striking evidence of the ever-
growing number of lives lost as a consequence of war. Though the work is political, the volume is
purely visual, without commentjust page after page of headstones. The only text in the book is
the late Pete Seegers question, Where have all the flowers gone? The images speak for
themselves.
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This book constitutes a series of entrances into an artistic research project exploring how queer
community may emerge through photographic acts. Conducted through two artworks depicting
queer lives in Russia State of Mind and At the Time of the Third Reading the research looks at
possibilities to acknowledge identities and simultaneously challenge what may be taken as the
norm. Photography and queer are two of the theoretical and practical entry points, while a third
entrance deals with the artworks from different temporal, situational, and embodied positions,
reflecting on queer community over borders, as well as the process of exhibiting the artworks in
various countries and contexts. Annica Karlsson Rixon works as a visual artist, photographer,
researcher, and lecturer. Queer Art through Photographic Acts introduces her PhD project in
fotografisk gestaltning (photography) at Valand Academy, University of Gothenburg, Sweden.
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'Famous Ordinary Things' is a tribute to modest objects developed within Swiss design culture.
"Famous" Swiss actors from the creative, artistic, or political field contributed to the book by
taking a snapshot of a design item from environment. The resulting images underline the
contemporary landscape of home and office interiors in Switzerland and remind us how these
objects impact our everyday lives. They present a beautiful kaleidoscopic voyage through
nostalgic and progressive visions, whereby the relationship between object and owner is filled
with anecdotes and irony. With contributions by Mario Botta, Olaf Breuning, Alain de Botton, Hans
Ulrich Obrist, and many others.
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For the past five years, Will Steacy photographed with unrestricted access the newsroom and
printing plant of The Philadelphia Inquirer. In his depiction of the newspapers efforts to prevail
despite depleted ad revenue, a steady decline in circulation, layoffs, buyouts, and bankruptcy, he
reveals the challenges and harsh realities faced by the industry today. The ongoing, massive
societal transition into an information technology economy of the future has eroded middle-class
jobs and boosted productivity while reducing the labour force. But what is the human cost of
these gains? Added to Steacys pictorial narrative is a wealth of archival material and portraits.
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New York-based photographer Marianna Rothens latest publication comprises 72 colour and
black-and-white photographs that in turn weave six distinct visual narratives. Shot in soft focus
with a costuming style reminiscent of the 1960s, her highly sensual images exclusively depict
women, either alone or engaged in intimate camaraderie with others. These are strong women,
powerful in their sexuality and nudity, comfortable in their bonds of sisterhood. Playing on
domestic archetypes, the women seem to own the spaces and landscapes they inhabit. Yet some
strike a melancholic tone, as if the dreamlike sequence is somehow only temporal, an escape
from reality.
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Fine art photographer Mariana Cook is renowned for her black-and-white photography, and
especially for her portraits. The last protg of American landscape photographer Ansel Adams,
her exclusive use of natural light to make gelatin silver prints sets her apart from many other
photographers today. For this, her eleventh book, Cook presents a series of images that require a
more focused gaze, a slowing down in order to process not just their formal beauty and stark
simplicity, but also the atemporal sensation that imbues each image, removed from space or
pausing at a threshold. Each offers a chance to escape the everyday, to find a moment of respite
within.
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