C comme crochet. Des projets intemporels revisités

Much Anticipated Second Volume of the Story of Photography through the History of the Photobook; Compiled by Martin Parr and Gerry Badger "The Photobook: A History, Volume I, by Martin Parr and Gerry Badger, is the most important contribution to the field since modern histories of photography began to appear in the early twentieth century. We can be sure that this book, and its forthcoming second volume, will lead the way to revitalization of thinking and publishing in the field. It dwarfs previous publications in both its scope and the information it provides." (Photo-Eye, December 2004) More photobooks are being published now than ever. For most photographers, this format is the ideal vehicle to present their work and communicate their vision to a mass audience. While the history of photography is a well-established canon, much less critical attention has been devoted to this alternative history of the medium through the pages of the photobook Following the critically acclaimed first volume, THE PHOTOBOOK: A HISTORY: VOLUME II, co-edited by Martin Parr and Gerry Badger, brings the most comprehensive illustrated history of the photobook fully up to date. Featuring over 200 photobooks, this lush survey offers a fresh approach to photographic history and is a celebration of the medium's diversity. Broadly thematic in structure, each chapter features an introductory easy followed by detailed discussion of the individual photobooks alongside images of the book covers and spreads. While the first volume stressed the subjective nature of the history of the medium and how that history was molded by the influences of curators and historians, the second volume brings a new perspective from the viewpoint of the photographer and the editor. A secret web of influences and interconnections between photographers and photographic movements around the world is revealed producing a global network of ideas. Spanning from Edouard Baldus's magnificent book for the Paris-Lyons Railway Company of 1861 to Stephen Shore's American Surfaces of 2005, the development of photography in its published form is the main focus. THE PHOTOBOOK: A HISTORY: VOLUME II is a chronicle of contemporary life, covering key artistic genres, including The American Photobook, The European Photobook, The Artist's Photobook and The Company Photobook. Gerry Badger explains the narrative function this unique format provides, "The photobook has become a worldwide phenomenon as practitioners of all cultures look to photography as a means of understanding the world around them." The books that fill the pages of this magnificent volume have defined photography, telling us just as much about the history of the medium as the history of the world. THE PHOTOBOOK: A HISTORY: VOLUME II is an indispensable resource.

From Street Life in London to Hiroshima, from The Royal Mummies to Perspective of Nudes and The Sweet Flypaper of Life, photobooks encompass a tremendous diversity of subjects and styles. While some of these illustrated volumes are famous (Eadweard Muybridge's Animal Locomotion, Robert Frank's The Americans), many others are known only to specialists. The Photobook: A History offers an engrossing survey of this art form, beginning with early experiments in photography in mid-19yh-century England and ending with raucous Japanese photo-diaries of the 1990s. The scope of this handsomely designed book?the first of two volumes?is so broad that only a few pages of each photobook could be illustrated, and some of the 750 color and black-and-white reproductions are quite small. But the incisive commentary by British photographer Martin Parr and photo critic Gerry Badger opens up new worlds of visual information. The authors provide essential grounding, not only in the history of photography, but also in the artistic and social movements that influenced the look and content of photobooks. In the 19th century, the object was to collect and to classify, whether the subject was a foreign landscape, a war, the surface of the moon or the manufacture of bread. Conversely, 20th-century photobooks are often frankly subjective, drawing on movements ranging from surrealism to the Beats. Yet a quasi-scientific approach could result in poignant imagery (as in Facies Dolorosa, a study of the faces of seriously ill people), and artistic subjectivity could yield bitter truths (Helen Levitt's A Way of Seeing, images of poor children in New York). Describing photobooks of the polemical 1930s as "the great persuaders," Parr and Badger remark that the best documentary work demonstrates an awareness of the ambiguities and contradictions inherent in the medium. Although we tend to think of propaganda solely as the product of totalitarian regimes (see "Long Live the Bright Instruction," a Chinese tract featuring unnervingly happy workers), the authors remind us that photobooks celebrating the American way of life often naively ignored the complex socio-political forces that underlie a sentimental or cheerful scene. The final chapter, devoted to postwar Japanese photobooks, vividly illuminates the cocktail of hedonism, rage and despair that makes these volumes extraordinary visual documents. --Cathy Curtis

Devenir végan, oui, mais comment, pourquoi ? Ce livre répond aux questions des vegans en devenir en expliquant les conséquences directes de l'arrêt de consommation de produits d'origine animale, sur son propre corps mais également sur l'environnement.