ISBN: 9781907893025 - this is not a house (21 resultados)

Hardcover. First edition, first printing. Near Fine quarter-clothbound hardcover with light shelf wear and spots of rubbing to the bottom edges of the boards; no dj as issued. BOOKS SHIP THE NEXT BUSINESS DAY, WRAPPED IN PADDING, IN A BOX. "Edgar Martins was initially commissioned by The New York Times to photograph the fallout from the US subprime mortgage crisis. Extending the project, he photographed across the United States, at carefully researched sites that exposed the extent and impact of the crisis on the US construction industry. Approaching the project as a photographic intervention into a crisis, the resulting images go beyond pure formal investigation or documentation. The houses depicted in this series do not refer to just the particular. They are images of spatial assemblages, of kinds of stages on which a number of quite different (and perhaps incompatible) narratives might be enacted. These images, these houses, these ruins, reflect back at us the human constructs that we project and impose on them." Photographs by Edgar Martins; essays by Peter D. Osborne and Sacha Craddock. 108 pages; 65 color plates; 13.5 x 10.75 inches. Due to size and weight, international and expedited shipping will be more than quoted.…

Condición: As New. Unread book in perfect condition.

Condición: New.

Condición: New.

Condición: New. pp. 108.

Hardback. Condición: New.

Hardcover. Condición: Brand New. 105 pages. 11.00x13.50x0.75 inches. In Stock.

Condición: new.

Condición: New.

Condición: New.

Hardcover. Condición: new. Hardcover. The US subprime mortgage crisis, which had its roots in the closing years of the twentieth century, exposed pervasive weaknesses in the regulation of the financial industry and the global financial system. At the end of 2008, as the fall-out from the crisis became increasingly widely felt, Edgar Martins was commissioned by the New York Times Magazine to photograph across the US in eight separate states and across sixteen different locations. These carefully researched sites exposed the extent and impact of the crisis on the US construction industry. Martins approached the project as a photographic intervention into a crisis and the resulting images go beyond pure formal investigation or documentation. His interest lay in summoning a disquieting conjunction of realism and fiction by cutting into the real. As the writer Jacques Ranciere states, the real can only be unravelled and understood if it is first fictionalised. And so the real must be transformed to be understood. The houses depicted in this series do not refer to just the particular.They are images of spatial assemblages, of kinds of stages on which a number of quite different (and perhaps incompatible) narratives might be enacted. These images, these houses, these ruins, reflect back at us the human constructs that we project and impose on them. 'This Is Not A House' emerges precisely at that juncture where clear words falter, where language is disturbed. The meaning of the world is no longer carried on its surface, if indeed it ever was. The US subprime mortgage crisis exposed pervasive weaknesses in the regulation of the financial industry and the global financial system. As the fall-out from the crisis became increasingly widely felt, Edgar Martins photographed across the US to expose the extent and impact of the crisis on the US construction industry. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.…

Condición: As New. Unread book in perfect condition.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Condición: New. pp. 108.

Condición: New. pp. 108.

Condición: New. KlappentextSelected by Mike Seaborne, Senior Curator of Photographs and Anna Sparham, Curator of Images at the Museum of London. London Street Photography is published in association with The Museum of London to coincide with the.

Buch. Condición: Neu. Neuware - Selected by Mike Seaborne, Senior Curator of Photographs and Anna Sparham, Curator of Images at the Museum of London. London Street Photography is published in association with The Museum of London to coincide with the major exhibition on show at the Museum until September 2011. Street photography thrives in London today. It documents the movement, diversity and seeming incoherence of the most multicultural city in the world. Its defining characteristic is the keen eye of the photographer catching the moment of a chance encounter, a fleeting expression or a momentary juxtaposition in a decisive click. However, photographing life on London¿s streets is nothing new. The first ¿instantaneous¿ London street scenes were taken in the early 1860s, and by the 1890s candid street photographers were snapping Londoners unawares. The 20th century saw many photographers, famous and lesser-known, continue to capture the daily life of London. London Street Photography showcases the Museum of London¿s unique historic collection of photographs. It contains the work of more than seventy photographers and is a fascinating view of London street life of the last 150 years. It includes the work of well-known photographers such as Paul Martin, John Thomson, Humphrey Spender, Bert Hardy, László Moholy-Nagy, Roger Mayne and Tony Ray-Jones as well as the work of many anonymous photographers whose contribution has been just as important in recording the story of the city. The book includes an introduction by Mike Seaborne, in which he outlines the history of street photography in the Capital, exploring the shifts in approach as well as the impact of new cameras that allowed photographers to capture the wealth of detail to be found in London¿s teeeming streets.…

Hardcover. Condición: new. Hardcover. The US subprime mortgage crisis, which had its roots in the closing years of the twentieth century, exposed pervasive weaknesses in the regulation of the financial industry and the global financial system. At the end of 2008, as the fall-out from the crisis became increasingly widely felt, Edgar Martins was commissioned by the New York Times Magazine to photograph across the US in eight separate states and across sixteen different locations. These carefully researched sites exposed the extent and impact of the crisis on the US construction industry. Martins approached the project as a photographic intervention into a crisis and the resulting images go beyond pure formal investigation or documentation. His interest lay in summoning a disquieting conjunction of realism and fiction by cutting into the real. As the writer Jacques Ranciere states, the real can only be unravelled and understood if it is first fictionalised. And so the real must be transformed to be understood. The houses depicted in this series do not refer to just the particular.They are images of spatial assemblages, of kinds of stages on which a number of quite different (and perhaps incompatible) narratives might be enacted. These images, these houses, these ruins, reflect back at us the human constructs that we project and impose on them. 'This Is Not A House' emerges precisely at that juncture where clear words falter, where language is disturbed. The meaning of the world is no longer carried on its surface, if indeed it ever was. The US subprime mortgage crisis exposed pervasive weaknesses in the regulation of the financial industry and the global financial system. As the fall-out from the crisis became increasingly widely felt, Edgar Martins photographed across the US to expose the extent and impact of the crisis on the US construction industry. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Hardback. Condición: New.

Hardcover. Condición: New. Edgar Martins was initially commissioned by The New York Times to photograph the fallout from the US subprime mortgage crisis. Extending the project, he photographed across the United States in eight separate states and across sixteen different locations. These carefully researched sites exposed the extent and impact of the crisis on the US construction industry. Approaching the project as a photographic intervention into a crisis, the resulting images go beyond pure formal investigation or documentation. His interest is in summoning a disquieting conjunction of realism and fictionâ""cutting in to the real.".…