conesa heloise (49 resultados)

Condición: As New. Unread copy in mint condition.

Condición: New.

Condición: New.

Condición: As New. Unread book in perfect condition.

Hardback. Condición: New.

Softcover. Condición: Bon. Traces d'usure sur la couverture. Tampon ou marque sur la face intérieure de la couverture. Edition 2014. Ammareal reverse jusqu'à 15% du prix net de cet article à des organisations caritatives. ENGLISH DESCRIPTION Book Condition: Used, Good. Signs of wear on the cover. Stamp or mark on the inside cover page. Edition 2014. Ammareal gives back up to 15% of this item's net price to charity organizations.

Hardcover. Condición: Brand New. bilingual edition. 117 pages. 9.00x6.00x0.50 inches. In Stock.

Condición: New. Num Pages: 120 pages, 7. BIC Classification: AJ. Category: (G) General (US: Trade). Dimension: 233 x 165. . . 2017. Bilingual. Hardcover. . . . .

Condición: New. Num Pages: 120 pages, 7. BIC Classification: AJ. Category: (G) General (US: Trade). Dimension: 233 x 165. . . 2017. Bilingual. Hardcover. . . . . Books ship from the US and Ireland.

Hardcover. Condición: new. Hardcover. Almost a century later, at a time when young artists are coming back to ancient processes for contemporary expression, how can we reinterpret and extend this face-to-face encounter between the artist and the glass plate, its light and its material? In the same way, in an era that claims the place of women in the history of art, how can we question or shake up this so ordinary phenomenon of domination, whether it is the relationship to women of the artists themselves, or a certain form of resistance still today to place women artists at the heart of the creation.We have chosen to ask Anais Boudot to take up this challenge, that of an artistic confrontation around the cliche under glass, as well as that of a response to the veil that has long been imposed on women artists. Anais Boudot has created a series of works on a set of anonymous glass plates from her collection, all of which represent female figures. A modernity in the materials, in the light as well as in the tone that both challenges and imposes itself in this vis-a-vis with Picasso and Brassai.It was following a glass plate forgotten by Brassai in Picassos studio that the latter began to develop a particular work on this medium. And indeed, it is no longer virgin, exclaimed Brassai when he discovered the plate reworked by Picasso, as Heloise Conesa recalls in her introduction. Taking up the words of Anne Baldassari, she continues: The artist-toro bends over the mortal wound that he inflicts on reality so that the figure so beautiful on the silver plate may emerge. A few years later, Brassai began his Transmutations series in which he engraved not on blank plates but on original negatives.Faced with these two sacred monsters of modern art, Anais Boudot responds to an invitation from The Eyes, by taking her own collection of anonymous faces on glass, to rework them with gelatin. Among these portraits of anonymous people from the 20s, 30s and 40s, womens faces stand out. Where Picasso and Brassais scratching of the gelatin is similar to a surgical act much more intrusive to bring out the plasticity of the work, Anais Boudot chooses gilding to restore these images of unknowns, to sublimate the image of these women, these muses so little considered by these masters and forgotten by the history of art. Anais Boudots work is part of this instinctive and experimental approach, that of making the invisible visible.Spending time with these womens faces, while rubbing shoulders with two historical (male) artists with a singular relationship to women, I felt the need to react. In the end, they are the forgotten ones, because they have been sidelined for years in the history of art, relegated to the rank of muses, models and companions. Their absence is glaring and it is undoubtedly this absence that these images attempt to highlight. Anais BoudotABOUT ANAIS BOUDOTBorn in Metz in 1984, Anais Boudot graduated from the Ecole nationale superieure de la photographie in 2010 and from Le Fresnoy studio national dart contemporain in 2013. Anais Boudot pursues a work around the processes of appearance of the image and the exploration of photographic techniques. The artist is represented by the Binome gallery. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardback. Condición: New. Almost a century later, at a time when young artists are coming back to ancient processes for contemporary expression, how can we reinterpret and extend this face-to-face encounter between the artist and the glass plate, its light and its material? In the same way, in an era that claims the place of women in the history of art, how can we question or shake up this so ordinary phenomenon of domination, whether it is the relationship to women of the artists themselves, or a certain form of resistance still today to place women artists at the heart of the creation. We have chosen to ask Anaïs Boudot to take up this challenge, that of an artistic confrontation around the cliché under glass, as well as that of a response to the veil that has long been imposed on women artists. Anaïs Boudot has created a series of works on a set of anonymous glass plates from her collection, all of which represent female figures. A modernity in the materials, in the light as well as in the tone that both challenges and imposes itself in this vis-à-vis with Picasso and Brassaï. It was following a glass plate forgotten by Brassaï in Picasso's studio that the latter began to develop a particular work on this medium. "And indeed, it is no longer virgin," exclaimed Brassaï when he discovered the plate reworked by Picasso, as Héloïse Conésa recalls in her introduction. Taking up the words of Anne Baldassari, she continues: "The artist-toro bends over the mortal wound that he inflicts on reality so that the figure so beautiful on the silver plate may emerge. A few years later, Brassaï began his Transmutations series in which he engraved not on blank plates but on original negatives. Faced with these two sacred monsters of modern art, Anaïs Boudot responds to an invitation from The Eyes, by taking her own collection of anonymous faces on glass, to rework them with gelatin. Among these portraits of anonymous people from the 20s, 30s and 40s, women's faces stand out. Where Picasso and Brassaï's scratching of the gelatin is similar to a "surgical act much more intrusive to bring out the plasticity of the work", Anaïs Boudot chooses gilding to restore these images of unknowns, to sublimate the image of these women, these muses so little considered by these masters and forgotten by the history of art. Anaïs Boudot's work is part of this instinctive and experimental approach, that of making the invisible visible. "Spending time with these women's faces, while rubbing shoulders with two historical (male) artists with a singular relationship to women, I felt the need to react. In the end, they are the "forgotten" ones, because they have been sidelined for years in the history of art, relegated to the rank of muses, models and companions. Their absence is glaring and it is undoubtedly this absence that these images attempt to highlight". Anaïs Boudot ABOUT ANAÏS BOUDOTBorn in Metz in 1984, Anaïs Boudot graduated from the École nationale supérieure de la photographie in 201.

Condición: New.

Hardback. Heloise Conesa, Hatje Cantz. This is the fourth monograph of the American artist Ann Mandelbaum. It offers both analogue black and white work from 1990-2000 and also digital colour images from 2007-present. None of the 100 examples have been exhibited or published before. The richness of the volume lies in the 35 year process delineated. It reveals a continual obsession with the organic world-woven within abstraction and sensation-and processed originally through the depths of the darkroom and subsequently on the digital screen. The varied imagery spans the history of the medium, including the photogram and multiple printing. Throughout, surreal techniques employ sculpture, collage, and the language of drawing. Regardless of medium, Mandelbaum consistently reinvents and rediscovers a language of surprise. Hardback.

Hardcover. Condición: new. Hardcover. This is the fourth monograph of the American artist Ann Mandelbaum. It offers both analogue black and white work from 1990-2000 and also digital colour images from 2007-present. None of the 100 examples have been exhibited or published before. The richness of the volume lies in the 35 year process delineated. It reveals a continual obsession with the organic world-woven within abstraction and sensation-and processed originally through the depths of the darkroom and subsequently on the digital screen. The varied imagery spans the history of the medium, including the photogram and multiple printing. Throughout, surreal techniques employ sculpture, collage, and the language of drawing. Regardless of medium, Mandelbaum consistently reinvents and rediscovers a language of surprise. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardcover. Condición: New.

Condición: Neuf.

Condición: Neuf.

Condición: New. 2022. Hardcover. . . . . .

Hardback. Condición: New. This is the fourth monograph of the American artist Ann Mandelbaum. It offers both analogue black and white work from 1990-2000 and also digital colour images from 2007-present. None of the 100 examples have been exhibited or published before. The richness of the volume lies in the 35 year process delineated. It reveals a continual obsession with the organic world-woven within abstraction and sensation-and processed originally through the depths of the darkroom and subsequently on the digital screen. The varied imagery spans the history of the medium, including the photogram and multiple printing. Throughout, surreal techniques employ sculpture, collage, and the language of drawing. Regardless of medium, Mandelbaum consistently reinvents and rediscovers a language of surprise.

Condición: New. 2022. Hardcover. . . . . . Books ship from the US and Ireland.

Condición: New.

Condición: Neuf.

Condición: NEW.

Condición: Neuf.

Condición: New.

Condición: As New. Unread book in perfect condition.

Hardcover. Condición: new. Hardcover. Almost a century later, at a time when young artists are coming back to ancient processes for contemporary expression, how can we reinterpret and extend this face-to-face encounter between the artist and the glass plate, its light and its material? In the same way, in an era that claims the place of women in the history of art, how can we question or shake up this so ordinary phenomenon of domination, whether it is the relationship to women of the artists themselves, or a certain form of resistance still today to place women artists at the heart of the creation.We have chosen to ask Anais Boudot to take up this challenge, that of an artistic confrontation around the cliche under glass, as well as that of a response to the veil that has long been imposed on women artists. Anais Boudot has created a series of works on a set of anonymous glass plates from her collection, all of which represent female figures. A modernity in the materials, in the light as well as in the tone that both challenges and imposes itself in this vis-a-vis with Picasso and Brassai.It was following a glass plate forgotten by Brassai in Picassos studio that the latter began to develop a particular work on this medium. And indeed, it is no longer virgin, exclaimed Brassai when he discovered the plate reworked by Picasso, as Heloise Conesa recalls in her introduction. Taking up the words of Anne Baldassari, she continues: The artist-toro bends over the mortal wound that he inflicts on reality so that the figure so beautiful on the silver plate may emerge. A few years later, Brassai began his Transmutations series in which he engraved not on blank plates but on original negatives.Faced with these two sacred monsters of modern art, Anais Boudot responds to an invitation from The Eyes, by taking her own collection of anonymous faces on glass, to rework them with gelatin. Among these portraits of anonymous people from the 20s, 30s and 40s, womens faces stand out. Where Picasso and Brassais scratching of the gelatin is similar to a surgical act much more intrusive to bring out the plasticity of the work, Anais Boudot chooses gilding to restore these images of unknowns, to sublimate the image of these women, these muses so little considered by these masters and forgotten by the history of art. Anais Boudots work is part of this instinctive and experimental approach, that of making the invisible visible.Spending time with these womens faces, while rubbing shoulders with two historical (male) artists with a singular relationship to women, I felt the need to react. In the end, they are the forgotten ones, because they have been sidelined for years in the history of art, relegated to the rank of muses, models and companions. Their absence is glaring and it is undoubtedly this absence that these images attempt to highlight. Anais BoudotABOUT ANAIS BOUDOTBorn in Metz in 1984, Anais Boudot graduated from the Ecole nationale superieure de la photographie in 2010 and from Le Fresnoy studio national dart contemporain in 2013. Anais Boudot pursues a work around the processes of appearance of the image and the exploration of photographic techniques. The artist is represented by the Binome gallery. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Hardcover. Condición: new. Hardcover. This is the fourth monograph of the American artist Ann Mandelbaum. It offers both analogue black and white work from 1990-2000 and also digital colour images from 2007-present. None of the 100 examples have been exhibited or published before. The richness of the volume lies in the 35 year process delineated. It reveals a continual obsession with the organic world-woven within abstraction and sensation-and processed originally through the depths of the darkroom and subsequently on the digital screen. The varied imagery spans the history of the medium, including the photogram and multiple printing. Throughout, surreal techniques employ sculpture, collage, and the language of drawing. Regardless of medium, Mandelbaum consistently reinvents and rediscovers a language of surprise. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Condición: Brand New. 156 pages. 12.80x0.98x11.02 inches. In Stock.

Condición: Neuf.