Robert Frank

Film As A Subversive Art
by Amos Vogel

The now scarce 2005 reprint edition of one of the greatest books on film. A classic returns! The original edition of Amos Vogel’s seminal book, Film as a Subversive Art was first published in 1974, and has been out of print since 1987. According to Vogel–founder of Cinema 16, North America’s legendary film society–the book details the “accelerating worldwide trend toward a more liberated cinema, in which subjects and forms hitherto considered unthinkable or forbidden are boldly explored.”
So ahead of his time was Vogel that the ideas that he penned some 30 years ago are still relevant today, and readily accessible in this classic volume. Accompanied by over 300 rare film stills, Film as a Subversive Art analyzes how aesthetic, sexual and ideological subversives use one of the most powerful art forms of our day to exchange or manipulate our conscious and unconscious, demystify visual taboos, destroy dated cinematic forms, and undermine existing value systems and institutions. This subversion of form, as well as of content, is placed within the context of the contemporary world view of science, philosophy, and modern art, and is illuminated by a detailed examination of over 500 films, including many banned, rarely seen, or never released works.
This 2005 edition, published by D.A.P./C.T. Editions, also quickly went out of print and it has not been available since.

Includes Luis Buñuel, Dusan Makavejev, Luis Buñuel, Stan Brakhage, Bruce Connor, Roman Polanski, Vera Chytilova, Alfred Hitchcock, Carolee Schneemann, Peter Watkins, Tony Conrad, Jonas Mekas, Andrei Tarkovsky, Marcel Duchamp, Robert Bresson, Luchino Visconti, Chris Marker, Federico Fellini, Rainer Werner Fassbinder, Kate Millett, John Cassavettes, Shuji Terayama, William Klein, Russ Meyers, Louis Malle, Woody Allen, Yoko Ono, Michelangelo Antonioni, Agnes Varda, Walerian Borowczyk, Andy Warhol, Ingmar Bergman, Jacques Rivette, Sergei M. Eisenstein, Ingmar Bergman, Lindsay Anderson, Roberto Rossellini, Marguerite Duras, Charlie Chaplin, Paul Morrissey, Joseph Losey, Otto Muehl, Hans Richter, Fritz Lang, Jean Genet, Kenneth Anger, Maya Deren, Jean-Luc Godard, Frans Zwartjes, Arrabal, Jack Smith, Stan Vanderbeek, Werner Herzog, Morgan Fisher, Jean Renior, Michael Snow, Robert Frank, Jan Svankmajer, Sam Peckinpah, Paul Sharits, Akira Kurosawa, Yoko Ono, Orson Welles, Frederick Wiseman, Ken Jacobs, Martin Scorcese, Jean Cocteau, Manuel Octavio Gomez, Stanley Kubrick, Norman McLaren, Albert Maysles and David Maysles, to name only a few of the hundreds of film-makers whose works are featured in this essential film book.

* Condition: Good (tight, clean copy throughout with only light creasing to covers and light wear) – All care is taken to provide accurate condition details of used books, photos available on request.

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Self Service No. 46
Spring / Summer 2017 : The Last Boxes

 

Self Service No. 46 Spring / Summer 2017 : The Last Boxes

Self Service 46 features “The Last Boxes”, with photography by Paolo Roversi, Nobuyoshi Araki, Bruce Weber, Robert Frank, Peter Lindbergh, Guy Bourdin, Collier Schorr, Craig McDean, and Ezra Petronio, essays about polaroid photography, deconstructed fashion, a selected group of 24 creative minds who pay a personal homage to the polaroid, and much more.

Self Service magazine is a fashion and cultural biannual magazine. The magazine features the preeminent players in the fashion world, with innovative editorials photographed by the world’s best photographers and stylists.

Note: Due to the size/weight of this volume, your order will possibly incur additional postage costs. We will contact you with the best shipping advice upon your order, or alternatively, please email us in advance. Thank you for understanding.

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The Past and Present of Photography

Publication to accompany the exhibition “The Past and Present of Photography” that traveled between The National Museum of Modern Art (Tokyo – Japan) and The National Museum of Modern Art (Kyoto – Japan) in 1990.
248 works of 42 internationally renowned photographers from the 1920s onwards are presented in this exhibition catalogue, with a number of pages dedicated to each artist. The works are further categorised into five sections: ‘the Past and the Present of Photography,’ ‘Modernism / Asethetics of Photography,’ ‘Expression and Document,’ ‘Wavering Photography,’ and ‘Forms of Absense.’

Artists featured: Diane Arbus, Tina Barney, Bernhard & Hilla Becher, Bill Brandt, Brassaï, Arnaud Claass, Ei-Kyu, Walker Evans, Robert Frank, Lee Friedlander, Hamish Fulton, Andreas Gursky, Kambee Hanaya, Fuyuki Hattori, Lewis W. Hine, André Kertész, Ihee Kimura, William Klein, Kiyoshi Koishi, Josef Koudelka, Man Ray, Lisette Model, László Moholy-Nagy, Daido Moriyama, Martin Parr, Albert Renger-Patzsch, Alexander M. Rodchenko, Sebastião Salgado, August Sander, Michael Schimdt, Charles Sheeler, Toshio Shibata, Osamu Shiihara, W. Eugene Smith, Alfred Stieglitz, Hiroshi Sugimoto, Shomei Tomatsu, Shoji Ueda, Weegee, Tadasu Yamamoto, Nobou Yamanaka, Nakaji Yasui.

List of works, biographies and selected bibliographies of the participating artists, along with an introduction given by Tohru Matsumoto are included in the catalogue.

* Condition: Very Good (clean and tight pages and binding, no noteable defects) – All care is taken to provide accurate condition details of used books, photos available on request.

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The Whole Earth – California and the Disappearance of the Outside
Diedrich Diederichsen, Anselm Franke (Eds.)

With contributions by Sabeth Buchmann, Mercedes Bunz, Diedrich Diederichsen, Kodwo Eshun, Anselm Franke, Erich Hörl, Norman M. Klein, Maurizio Lazzarato, Flora Lysen, Eva Meyer, John Palmesino, Laurence Rickels, Bernd M. Scherer, Fred Turner

In the year 1966, a young man named Stewart Brand handed out buttons in San Francisco reading: “Why haven’t we seen a photograph of the whole Earth yet?” Two years later, the NASA photograph of the “blue planet” appeared on the cover of the Whole Earth Catalog. In creating the catalogue, frequently described as the analogue forerunner of Google, Brand had founded one of the most influential publications of recent decades. It mediated between cyberneticists and hippies, nature romantics and technology geeks, psychedelia and computer culture, and thus triggered defining impulses for the environmentalist movement and the rise of the digital network culture.

The photo of the blue planet developed a sphere of influence like almost no other image: it stands not only for ecological awareness and crisis but also for a new sense of unity and globalization. The universal picture of “One Earth” hence anticipated an image of the end of the Cold War, whose expansion into space it accompanied, and overwrote or neutralized political lines of conflict by transferring classical politics and criticism of it to other categories, such as cybernetic management or ecology.

The exhibition “The Whole Earth” is an essay composed of cultural-historical materials and artistic positions that critically address the rise of the image of “One Earth” and the ecological paradigm associated with it. The accompanying publication includes image-rich visual essays that explore key themes: “Universalism,” “Whole Systems,” “Boundless Interior,” and “Apocalypse, Babylon, Simulation,” among others. These are surrounded by critical essays that shed light onto 1960s California and the networked culture that emerged from it.

Artists: Nabil Ahmed, Ant Farm, Eleanor Antin, Martin Beck, Jordan Belson, Ashley Bickerton, Dara Birnbaum, Erik Bulatov, Angela Bulloch, Bruce Conner, Öyvind Fahlström, Robert Frank, Jack Goldstein, Nancy Holt and Robert Smithson, Lawrence Jordan, Silvia Kolbowski, Philipp Lachenmann, David Lamelas, Sharon Lockhart, Piero Manzoni, Raymond Pettibon, Adrian Piper, Robert Rauschenberg, Ira Schneider, Richard Serra, Alex Slade, Jack Smith, Josef Strau, The Center for Land Use Interpretation, The Otolith Group, Suzanne Treister, Andy Warhol, Bruce Yonemoto, et al.

Copublished with Haus der Kulturen der Welt
Design by Studio Matthias Görlich

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