David Campany Boeken

An overview of John Stezaker’s film still collages, this book showcases the evolution of the artist’s relationship with a specific material.John Stezaker began his ongoing series of film still collages in 1979; the result of a period that marked a crucial change in the direction of the artist’s work, which had previously been centred around a text-based ‘conceptualism’.The series moves with Stezaker’s changing interests; using stills from classic American-period Hitchcock films as raw material before shifting towards the undistinguishable mass of 1940s and early 1950s low-budget studio films.Featuring collages based on a combination of film still excisions and superimpositions, this ongoing series is catalogued comprehensively for the first time in this volume.Bringing together Stezaker’s earliest film still collages to his most recent, full-colour illustrations are accompanied by an essay by David Campany and a conversation between the critic and the artist.

This book features the Shelby Lee Adams, Adam Broomberg and Oliver Chanarin, Chien-Chi Chang, Julio Grinblatt, An-My Le, Susan Meiselas, Boris Mikhailov, Simon Norfolk, Trent Parke, Weng Peijun, Paul Shambroom, Massimo Vitali, and, Michael Wesely. It also contains essays by David Campany, Martha Langford, and, Jan-Erik Lundstrom. "So Now Then" is very much about the here and now. With the subject of documentary currently at the forefront of contemporary visual art and photography looming large as the medium of choice for practitioners, it seems an appropriate time to take stock of some of the most apposite work energizing and redefining the documentary mode. The fourteen artists - chosen from a shortlist nominated by over sixty of the world's leading authorities on contemporary photography - represent a broad spectrum of pictorial, aesthetic and conceptual interests.

Das fotografische Bild ist erfüllt von Stille. Keine Bewegung, kein Geräusch, keine Zeit. Aber was passiert, wenn eines dieser fehlenden Elemente hinzugefügt wird? The Still Point of the Turning World fokussiert auf jenen seltenen Moment, in dem sich ein Fotograf dem Film zuwendet oder eine Videokünstlerin der Fotografie. Welche Art von Schönheit findet sich an der Grenze zwischen den beiden Medien? Dieses Foto-Film-Buch erscheint parallel zu einer Ausstellung des FOMU, Antwerpen, nimmt aber in der Debatte eine eigene Position ein. Der Band präsentiert 24 Künstler, die fotografische und filmische Werke kombinieren, und enthält Essays von David Campany and Joachim Naudts. Künstler: Morten Barker (DK), Dirk Braeckman (BE), Henri Cartier-Bresson (FR), David Claerbout (BE), Manon de Boer (NL), Jason Dee (UK), Nir Evron (IL), Mekhitar Garabedian (BE/SY), Geert Goiris (BE), Paul Graham (UK), Guido Guidi (IT), Mark Lewis (CA), Louis Lumière (FR), Duane Michals (US), Eadweard Muybridge (UK), Mark Neville (UK), Lisa Oppenheim (US), Raqs Media Collective (IN), John Smith (UK), John Stezaker (UK), Hiroshi Sugimoto (JP), Ana Torfs (BE), Michiel van Bakel (NL), Jeff Wall (CA)

Exploring the realm of photography, David Campany curates a diverse collection of 120 images from renowned photographers like Henri Cartier-Bresson and William Eggleston. Rather than adhering to traditional categories, the selection reveals its own unique logic, showcasing works ranging from fashion photography to intimate street scenes. Each photograph is paired with insightful commentary that delves into its history, meaning, and cultural context. Inspired by Susan Sontag's seminal work, this book reflects Campany's personal journey in understanding photography's impact.

Exploring the cultural significance of road trips, this book delves into various travel experiences, from joyful journeys to critical assessments of the nation. It highlights how these adventures shape American identity and imagination, presenting a multifaceted view of travel as a means of discovery and reflection. Through a collection of essays and narratives, it examines the deep connection between Americans and their landscapes, emphasizing the road trip as an essential element of the national character.

Examining the phenomenon of "staging disorder," this book explores how photographers engage with pre-existing staged realities rather than creating disordered scenes themselves. It analyzes military simulations and their implications for truth in contemporary photography through the works of notable artists. The publication connects five significant projects, contributing to a broader thesis on the evolution of photographic discourse. It aligns with an exhibition and symposium, providing a platform for critical discussion on the shifting focus in the field.

Originally conceived as an audiovisual slideshow, this project showcases Haas' deep passion for Kodachrome photography. Presented in vibrant color, it offers a visual feast that will captivate both his devoted fans and newcomers alike, highlighting the beauty and artistry of this classic photographic medium.

Benedikt Partenheimer's works explore the relationship between humanity and the Earth amidst the Anthropocene and rapid change. His striking photographs reveal ecological and cultural transformations, highlighting human impact through visuals of pollution and melting glaciers. His art is both aesthetically compelling and politically significant. Partenheimer studied photography in Melbourne and New York and lives in Berlin.

The River Lea runs from Hertfordshire down to the Thames in East London. Once a busy commercial waterway, it is now a nature reserve and leisure area. From the grand site of the 2012 Olympic Games it passes industrial estates, sports centres, new build homes and council estates. Escape from the city; the reinvention of social spaces; the attraction of water; the meeting of different cultures; the persistence of nature. Adventures in Lea Valley collects a decade's worth of photographs from Davaid Campany and Polly Braden, telling the story of this changing land.

Greg Girard?s photographs of Vancouver from the 1970s and early 1980s show us the city?s final days as a port town at the end of the railway line. Soon after Vancouver began to be noticed by the wider world (Expo 86 is generally agreed on as the pivotal moment), the city began refashioning itself as an urban resort on nature?s doorstep and attracting attention as a destination for real estate investment. At that time, long before post-9/11 security concerns sealed off the working waterfront from the city, many of Vancouver?s downtown and east side streets ended at the waterfront, an area filled with commercial fishing docks, cargo terminals, and bars and cafes for waterfront workers and sailors. Pawn-shop windows downtown displayed outboard motors, chainsaws and fishing gear. Wandering these streets, living in cheap hotels, Girard photographed the workaday (and night) world of the city where he grew up. 0The photographs in 'Under Vancouver' 1972?198'2 were made before Girard began earning a living as a magazine photographer, later establishing a formal practice as an artist. They reveal an early interest in the hidden and the overlooked, the use of color film at night, and the extended photographic inquiry of a specific place, all of which became signature features of later books such as City of Darkness and City of Darkness Revisited (about the infamous Kowloon Walled City), Phantom Shanghai and Hanoi Calling. 'Under Vancouver 1972?1982' is the first comprehensive collection of Girard?s early photographs of Vancouver. Made in and of the moment, a young photographer?s earliest engagements (often featuring the underside of the city), the pictures now form an unintended photographic record of a Vancouver that has all but disappeared