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"Hibi was one of Masahisa Fukase's final bodies of work. Fukase photographed street cracks and fissures between 1990 and 1992, and then hand painted a set of 10 x 8" bromide prints. The series was shown in February 1992, in his solo exhibition 'Private Scenes '92' held at the Nikon Salon in Tokyo, alongside Private Scenes, Bukubuku, and Berobero. His working life came to an end four months later, when he fell down the stairs in Shinjuku Golden Gai, Tokyo, and suffered brain damage."--Colophon.
"Pictures of Belonging showcases more than one hundred objects created by Miki Hayakawa, Hisako Hibi, and Miné Okubo. These trailblazing American women of Japanese descent-part of the pre-World War II generation of artists in California-were committed to exploring art as a productive means of storytelling, but their achievements are rarely recognized in the pages of American history. The book puts the artists' works in dialogue with one another for the first time-creating new conversations on citizenship, community, and agency in the historical record during an era of exclusion for Japanese Americans in particular and Asian Americans as a whole"--
Japanese artist Emi Anrakuji follows up on her recent artist's book Anrakuji with a contribution to our One Picture Book series. In it, she displays reproductions of her one-off digital prints (made by digitally printing the extraordinary self-portraits for which she is best known) onto e hagaki (picture postcards). The book concludes with an original, signed portrait printed over a vintage postcard. Each original print is unique.--Publisher's website.
Tiré du site de l'éditeur: "What kind of gaze does the city license? What kind of gaze does it induce, determine, inform, program, organise? What is the nature of the city as reality, as image and as symbol? What is this object of desire, at once near and ungraspable, fascinating and repulsive, attractive and intractable, necessary and unbearable, intimate and impenetrable, available and inaccessible, that it is for itself as well as for the man of the crowd, for the man in the street, for the man of the city, for those who inhabit it and those merely passing through it, for anyone who knows that it is a labyrinth but nonetheless allows himself to remain trapped in it? Hubert Damisch. Takashi Homma uses fragments collected in camera obscura constructed in metropolitan areas of Japan and the US to build a city image by image. Homma does not seek to index any particular city but to render a shadow world, a city's unconscious caught in a dark chamber, suspended in the camera's box. The camera obscura offers a repetition, like the reflection shimmering in Narcissus's pool. The narcissistic city is a city transfixed upon its own image - a mirror city, laced with repetition (modular) and reflections (glass). A city looking at its reflection, a city caught in a dark chamber, a city observing its camera obscura inversion - flickering inside the camera's box."
From darkly fascinating photographs of ravens to humorous self-portraits, Fukase created images of enormous emotional power Among the most radical and original photographers of his generation, Masahisa Fukase was famous for The Solitude of Ravens(1991), in which these birds of doom, in flocks or alone, blacken the pages of the book in inky, somber, calligraphic clusters; in 2010 it was voted the best photobook of the past 25 years by the British Journal of Photography. Fukase also has a lesser-known corpus of collages, self-portraits, photographs reworked as sketches, black-and-white prints, Polaroids and more. This book brings together all of his work for the very first time. Its editors, Simon Baker, director of the Maison européenne de la photographie, Paris, and Tomo Kosuga, director of the Masahisa Fukase Archives, Tokyo, have assembled 26 series from Fukase's oeuvre, including Memories of Father; The Solitude of Ravens; his portraits of cats; his famous self-portraits taken in a bathtub with a waterproof camera; and many previously unpublished works. Fukase tried his hand at everything, and this essential volume, at more than 400 pages, at last reveals the full breadth of his imagination in an English-language publication.
Many people first encounter Hawai‘i through the imagination—a postcard picture of hula girls, lu‘aus, and plenty of sun, surf, and sea. While Hawai‘i is indeed beautiful, Native Hawaiians struggle with the problems brought about by colonialism, military occupation, tourism, food insecurity, high costs of living, and climate change. In this brilliant reinvention of the travel guide, artists, activists, and scholars redirect readers from the fantasy of Hawai‘i as a tropical paradise and tourist destination toward a multilayered and holistic engagement with Hawai‘i's culture and complex history. The essays, stories, artworks, maps, and tour itineraries in Detours create decolonial narratives in ways that will forever change how readers think about and move throughout Hawai‘i. Contributors. Hōkūlani K. Aikau, Malia Akutagawa, Adele Balderston, Kamanamaikalani Beamer, Ellen-Rae Cachola, Emily Cadiz, Iokepa Casumbal-Salazar, David A. Chang, Lianne Marie Leda Charlie, Greg Chun, Joy Lehuanani Enomoto, S. Joe Estores, Nicholas Kawelakai Farrant, Jessica Ka‘ui Fu, Candace Fujikane, Linda H. L. Furuto, Sonny Ganaden, Cheryl Geslani, Vernadette Vicuña Gonzalez, Noelani Goodyear-Ka‘ōpua, Tina Grandinetti, Craig Howes, Aurora Kagawa-Viviani, Noelle M. K. Y. Kahanu, Haley Kailiehu, Kyle Kajihiro, Halena Kapuni-Reynolds, Terrilee N. Kekoolani-Raymond, Kekuewa Kikiloi, William Kinney, Francesca Koethe, Karen K. Kosasa, N. Trisha Lagaso Goldberg, Kapulani Landgraf, Laura E. Lyons, David Uahikeaikalei‘ohu Maile, Brandy Nālani McDougall, Davianna Pōmaika‘i McGregor, Laurel Mei-Singh, P. Kalawai‘a Moore, Summer Kaimalia Mullins-Ibrahim, Jordan Muratsuchi, Hanohano Naehu, Malia Nobrega-Olivera, Katrina-Ann R. Kapā‘anaokalāokeola Nākoa Oliveira, Jamaica Heolimelekalani Osorio, No‘eau Peralto, No‘u Revilla, Kalaniua Ritte, Maya L. Kawailanaokeawaiki Saffery, Dean Itsuji Saranillio, Noenoe K. Silva, Ty P. Kāwika Tengan, Stephanie Nohelani Teves, Stan Tomita, Mehana Blaich Vaughan, Wendy Mapuana Waipā, Julie Warech
On the author's trip to Great Britain and Switzerland in 1993.
In the late 1890s, the Blue Ridge Parkway was envisioned by many as a great getaway and nature preserve. The concept materialized in the early 20th century, when John D. Rockefeller donated the first $5 million to begin purchasing land for the project. Located at the top of the great Appalachian ridges, the parkway covers 469 winding miles of mountains and meadows lined with lush wildflowers, old farms, and split-rail fences. Inspiring scenery makes for a journey rich in history and mountain culture.