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DEAL OF THE DAY

L'ora dello spettatore. Come le immagini ci usano.

Edited by M. Di Monte and Gennari Santori F.
Roma, 2020; paperback, pp. 264, col. ill., cm 21x27.

cover price: € n.d.

L'ora dello spettatore. Come le immagini ci usano.

Total price: € 40.00 € 144.00 add to cart carrello

Books included in the offer:

L'ora dello spettatore. Come le immagini ci usano.

Edited by M. Di Monte and Gennari Santori F.
Roma, 2020; paperback, pp. 264, col. ill., cm 21x27.

FREE (cover price: € n.d.)

L'ora dello spettatore. Come le immagini ci usano.

Caravaggio. La Bottega del Genio

Roma, Museo Nazionale del Palazzo di Venezia - Sale Quattrocentesche, December 22, 2010 - May 29, 2011.
Edited by Falucci C.
Roma, 2010; paperback, pp. 118, b/w and col. ill., tavv., cm 24x28.
(Cataloghi Mostre. 49).

FREE (cover price: € 48.00)

Caravaggio. La Bottega del Genio

Caravaggio. La Cappella Contarelli

Roma, Palazzo Venezia, March 10 - October 15, 2011.
Edited by M. Cardinali and De Ruggieri M. B.
Roma, 2011; paperback, pp. 150, 60 b/w ill., 60 col. ill., 60 b/w plates, col. plates, cm 24x28.
(Cataloghi Mostre. 50).

FREE (cover price: € 56.00)

Caravaggio. La Cappella Contarelli

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Elena Dorfman. Empire Falling

Damiani

Bologna, 2013; bound, pp. 95, col. ill., cm 30x24,5.
(Fotografia).

series: Fotografia

ISBN: 88-6208-266-5 - EAN13: 9788862082662

Subject: Collections,Photography

Languages:  italian text  

Weight: 0.84 kg


Los Angeles-based photographer Elena Dorfman's latest body of work presents American rock quarries as geologic phenomena, both conceptually and representationally. In Dorfman's epic tableaux, the ancient sedimentation and erosion found at these sites form the basis for her complex and highly layered compositions. "I manipulate and reconstruct the landscape," she says, "reassembling the pictures just as the oldest rock begins at the bottom and works its way up to the surface." Empire Falling presents the abandoned and active quarries of the Midwest in Indiana, Kentucky and Ohio. Executed over the course of several years, Dorfman's images record both the minute and radical workings of nature, as these spaces give way to human intervention and exploitation.

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