2005, ISBN: 3932187504

Edição encadernada

[EAN: 9783932187506], [SC: 32.23], [PU: Fiedler Contemporary / Jousse Enterprise / Schaden.com, Cologne, Paris], TYPE-C PRINTS, COLOR PHOTOGRAPHY, INDUSTRIAL WAREHOUSE, LOGOS, PYLON,, Boo… mais…

[EAN: 9783932187506], [SC: 32.23], [PU: Fiedler Contemporary / Jousse Enterprise / Schaden.com, Cologne, Paris], TYPE-C PRINTS, COLOR PHOTOGRAPHY, INDUSTRIAL WAREHOUSE, LOGOS, PYLON,, Book signed and dated "Frank Breuer Paris, 19.11.2005" on colophon and three Type-C prints signed "Frank Breuer" and numbered 10/50 on verso. Oblong Folio Box. Oblong Sextodecimo book. Unpaginated. Original white quarter-cloth over photo-illustrated heavy boards, blue lettering on spine, with white board portfolio containing three color photographs. Folding poster with photo-illustrated list of photographs, all housed in unfinished wooden box with blue lettering printed to top; screw-bolted. Concept and design by Frank Breuer and Marie-Luise Wulf. Scans by Nova Concept, Berlin, and printed by Medialis, Berlin. The elaborate production overseen by Markus Schaden. Frank Breuer took the photographs between 1995 and 2005 in Belgium, France, Germany and the Netherlands. The following quote is taken from an exhaustive and informative write-up of this photo book posted by Bint Photobooks on the internet: "Cologne-based photographer Frank Breuer is a virtuoso of profuse emptiness. His photographs of the bleak but strangely beautiful warehouses and of the logo-bearing, corporate, pylon-like signs that often stand nearby seem largely emptied of discursive, annotative meaning. Because both the warehouses and the emptied sign-structures that are his subject offer no internal articulation, they are essentially scale-less, possessing temporality rather than interiority, and having more to do with duration, extension, and proliferation than with architecture or idea. This leads them toward a role as extrapolated minimalist objects: constant, indivisible, and, being spectacle-free (in the Debordian sense), paradoxically neutral, though imbued with the grace of presentness. He has photographed the generic warehouses, and other architecturally under-articulated buildings (and structures, such as aggregations of industrial containers), that he has found there with the kind of care that Berenice Abbott lavished in the 1930s upon the skyscrapers of New York,1 and with the precision with which Lewis Baltz indexed American tract houses and industrial parks in the early 1970s. Breuer, like a number of other now well-known "new topographic" photographers of the last decade and a half, studied in Düsseldorf with Bernd and Hilla Becher. Frank Breuer studied photography at the University of Applied Sciences in Cologne and at the Düsseldorf Academy of Arts, where he received the graduation certificate and the distinction of master student under Bernd Becher. Breuer received fellowships and grants from the Stiftung Kunst und Kultur NRW, Düsseldorf and the Wüstenrot Stiftung, Ludwigsburg. His photographs are in the collections of the Metropolitan Museum of Art, New York; the Photographic Collection of the Museum Folkwang, Essen; the ZKM Karlsruhe; and the Manfred Heiting Collection, Amsterdam. Frank Breuer is represented by Fiedler Contemporary, Cologne." (Bint Photobooks)., Books<

2005, ISBN: 3932187504

Edição encadernada

[EAN: 9783932187506], [SC: 31.98], [PU: Fiedler Contemporary / Jousse Enterprise / Schaden.com, Cologne, Paris], TYPE-C PRINTS, COLOR PHOTOGRAPHY, INDUSTRIAL WAREHOUSE, LOGOS, PYLON,, Boo… mais…

[EAN: 9783932187506], [SC: 31.98], [PU: Fiedler Contemporary / Jousse Enterprise / Schaden.com, Cologne, Paris], TYPE-C PRINTS, COLOR PHOTOGRAPHY, INDUSTRIAL WAREHOUSE, LOGOS, PYLON,, Book signed and dated "Frank Breuer Paris, 19.11.2005" on colophon and three Type-C prints signed "Frank Breuer" and numbered 10/50 on verso. Oblong Folio Box. Oblong Sextodecimo book. Unpaginated. Original white quarter-cloth over photo-illustrated heavy boards, blue lettering on spine, with white board portfolio containing three color photographs. Folding poster with photo-illustrated list of photographs, all housed in unfinished wooden box with blue lettering printed to top; screw-bolted. Concept and design by Frank Breuer and Marie-Luise Wulf. Scans by Nova Concept, Berlin, and printed by Medialis, Berlin. The elaborate production overseen by Markus Schaden. Frank Breuer took the photographs between 1995 and 2005 in Belgium, France, Germany and the Netherlands. The following quote is taken from an exhaustive and informative write-up of this photo book posted by Bint Photobooks on the internet: "Cologne-based photographer Frank Breuer is a virtuoso of profuse emptiness. His photographs of the bleak but strangely beautiful warehouses and of the logo-bearing, corporate, pylon-like signs that often stand nearby seem largely emptied of discursive, annotative meaning. Because both the warehouses and the emptied sign-structures that are his subject offer no internal articulation, they are essentially scale-less, possessing temporality rather than interiority, and having more to do with duration, extension, and proliferation than with architecture or idea. This leads them toward a role as extrapolated minimalist objects: constant, indivisible, and, being spectacle-free (in the Debordian sense), paradoxically neutral, though imbued with the grace of presentness. He has photographed the generic warehouses, and other architecturally under-articulated buildings (and structures, such as aggregations of industrial containers), that he has found there with the kind of care that Berenice Abbott lavished in the 1930s upon the skyscrapers of New York,1 and with the precision with which Lewis Baltz indexed American tract houses and industrial parks in the early 1970s. Breuer, like a number of other now well-known "new topographic" photographers of the last decade and a half, studied in Düsseldorf with Bernd and Hilla Becher. Frank Breuer studied photography at the University of Applied Sciences in Cologne and at the Düsseldorf Academy of Arts, where he received the graduation certificate and the distinction of master student under Bernd Becher. Breuer received fellowships and grants from the Stiftung Kunst und Kultur NRW, Düsseldorf and the Wüstenrot Stiftung, Ludwigsburg. His photographs are in the collections of the Metropolitan Museum of Art, New York; the Photographic Collection of the Museum Folkwang, Essen; the ZKM Karlsruhe; and the Manfred Heiting Collection, Amsterdam. Frank Breuer is represented by Fiedler Contemporary, Cologne." (Bint Photobooks)., Books<

2005, ISBN: 3932187504

Edição encadernada

[EAN: 9783932187506], [SC: 32.4], [PU: Fiedler Contemporary / Jousse Enterprise / Schaden.com, Cologne, Paris], TYPE-C PRINTS, COLOR PHOTOGRAPHY, INDUSTRIAL WAREHOUSE, LOGOS, PYLON,, Book… mais…

[EAN: 9783932187506], [SC: 32.4], [PU: Fiedler Contemporary / Jousse Enterprise / Schaden.com, Cologne, Paris], TYPE-C PRINTS, COLOR PHOTOGRAPHY, INDUSTRIAL WAREHOUSE, LOGOS, PYLON,, Book signed and dated "Frank Breuer Paris, 19.11.2005" on colophon and three Type-C prints signed "Frank Breuer" and numbered 10/50 on verso. Oblong Folio Box. Oblong Sextodecimo book. Unpaginated. Original white quarter-cloth over photo-illustrated heavy boards, blue lettering on spine, with white board portfolio containing three color photographs. Folding poster with photo-illustrated list of photographs, all housed in unfinished wooden box with blue lettering printed to top; screw-bolted. Concept and design by Frank Breuer and Marie-Luise Wulf. Scans by Nova Concept, Berlin, and printed by Medialis, Berlin. The elaborate production overseen by Markus Schaden. Frank Breuer took the photographs between 1995 and 2005 in Belgium, France, Germany and the Netherlands. The following quote is taken from an exhaustive and informative write-up of this photo book posted by Bint Photobooks on the internet: "Cologne-based photographer Frank Breuer is a virtuoso of profuse emptiness. His photographs of the bleak but strangely beautiful warehouses and of the logo-bearing, corporate, pylon-like signs that often stand nearby seem largely emptied of discursive, annotative meaning. Because both the warehouses and the emptied sign-structures that are his subject offer no internal articulation, they are essentially scale-less, possessing temporality rather than interiority, and having more to do with duration, extension, and proliferation than with architecture or idea. This leads them toward a role as extrapolated minimalist objects: constant, indivisible, and, being spectacle-free (in the Debordian sense), paradoxically neutral, though imbued with the grace of presentness. He has photographed the generic warehouses, and other architecturally under-articulated buildings (and structures, such as aggregations of industrial containers), that he has found there with the kind of care that Berenice Abbott lavished in the 1930s upon the skyscrapers of New York,1 and with the precision with which Lewis Baltz indexed American tract houses and industrial parks in the early 1970s. Breuer, like a number of other now well-known "new topographic" photographers of the last decade and a half, studied in Düsseldorf with Bernd and Hilla Becher. Frank Breuer studied photography at the University of Applied Sciences in Cologne and at the Düsseldorf Academy of Arts, where he received the graduation certificate and the distinction of master student under Bernd Becher. Breuer received fellowships and grants from the Stiftung Kunst und Kultur NRW, Düsseldorf and the Wüstenrot Stiftung, Ludwigsburg. His photographs are in the collections of the Metropolitan Museum of Art, New York; the Photographic Collection of the Museum Folkwang, Essen; the ZKM Karlsruhe; and the Manfred Heiting Collection, Amsterdam. Frank Breuer is represented by Fiedler Contemporary, Cologne." (Bint Photobooks)., Books<