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The hundred and fifty or so pictures that make up this retrospective of the work of Alberto Garcia-Alix (Leon, 1956) illustrate one of the most outstanding careers om the past quarter-century of Spanish photography. His artistic experience unfolds in a sort of poetic narration: that of his own private journey into the depths of the night. His ongoing autobiographical endeavour has driven him to document the chronicle of his time through a set of portraits which often include his own. Three different approaches can be discerned in his vast production. The initial period (1975-1982), to which most of his 35mm. work belongs; the eighties, which evidence the mature style of a sophisticated composer of frames; and the recent nineties, which witness a shift towards an increasingly cold, bare and essential perspective. Projects that reflect the multifaceted and heterodox nature of an artist whose oeurve rooted in the most classical tradition of black and white photography.
For several years now, film and video have determined contemporary art and exhibitions on a scale unheard of since the 1960s and 1970s, but rarely have these roots themselves been explored. X-Screen presents a comprehensive historical analysis of expanded forms of filmic projection, arranging a complex constellation of films, performances, and installations according to three categories. First is an exploration of the expansion of the field of projection, understood as part of Happenings, as well as Fluxus and Pop performances. Work by Robert Whitman, Carolee Schneemann, and USCO is discussed. Second is an interrogation of the screen in terms of media analysis, anti-illusionism, or institutional critique in the context of Structural Film and Conceptual art. Film installations and multiple projections are especially relevant here, including work by Valie Export, Michael Snow, and Peter Weibel. And third is a consideration of post-minimalist explorations of the relationship between the media image and physical space, as seen in the work of Dan Graham, Bruce Nauman, Dennis Oppenheim, and others.
"When Tod Papageorge began this work, the newspapers saw Central Park chiefly as a site of danger and outrage, and they were doubtless partly right. But the park shown here seems no more dangerous than life itself, and no less filled with beauty, charming incident, excess, jokes in questionable taste, unintended consequence, and pathos, truly described. One might say that no artist has done so much for this piece of land since Frederick Law Olmstead." --John Szarkowski, The Museum of Modern Art, New York After receiving a Guggenheim Fellowship in 1977, Tod Papageorge began to photograph intensively in Central Park, employing medium-format cameras rather than the 35mm Leicas that he had used since moving to New York in 1965. These pictures, gathered in Passing Through Eden, convey the passion that--as Rosalind Krauss once described it in Papageorge's work--embraces "the sensuous richness of physical reality, that fullness which Baudelaire called intimacy when he meant eroticism." From picture to picture, Papageorge constructs a world that resembles our own, but that also invokes that of the Bible: Passing Through Eden is sequenced to parallel, in its opening pages, the first chapters of Genesis--from the Creation through the (metaphorical) generations that follow on from Cain--before giving over to a virtuosic run of pictures that, as he expresses it in his illuminating afterword to the book, picks up "the threads that tie the Bible to Chaucer, Shakespeare and "Page Six" of the New York Post." This ambitious body of work--incorporating pictures produced over the course of 25 years--displays not only Papageorge's remarkable ability to make photographs that read like condensed narratives, but also his skill at weaving them into sequences that echo profound cultural narratives. It challenges the reader to succumb (or not) to the pleasures of the "fullness" of each individual photograph, while ignoring (or not) the tug of a tale demanding to be told. Like Eden itself, this book sets our desire for beauty against that of knowledge, even as it reminds us of some of the ways that we read, and come to know, books.