Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frеdеric Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frederic Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

A photographic record of 90 weird and wonderful buildings from the last decades of the USSR Photographer Frederic Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union. Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad). This puzzle of styles testifies to all the ideological dreams of the period, from the obsession with the cosmos to the rebirth of identity. It also outlines the geography of the USSR, showing how local influences made their exotic twists before the country was brought to its end. Frederic Chaubin's Cosmic Communist Constructions Photographed is elected best book on architecture of the year by the International Artbook and Film Festival in Perpignan/France (Festival International du Livre d'Art & du Film Perpignan). The photographer: Frederic Chaubin has been, for the last fifteen years, editor-in-chief of the French lifestyle magazine Citizen K. Since 2000 he has regularly featured works combining text and photography. The CCCP collection research was carried out from 2003 to 2010, through an intuitive and creative travel process. This project has been shown throughout the world, from Japan to the United States.

Фотограф Фредерик Шобен показывает 90 зданий, расположенных в четырнадцати бывших советских республиках, которые отражают то, что он считает четвертой эпохой советской архитектуры. В его поэтических картинах обнаруживается неожиданное возрождение воображения, небывалый расцвет, имевший место с 1970 по 1990 год. В отличие от 1920-х и 1950-х годов здесь не возникает никакой «школы» или основного направления. Эти здания представляют собой хаотический импульс, вызванный разлагающейся системой. Их разнообразие предвещало конец Советского Союза. Пользуясь рушащейся монолитной конструкцией, дырами в расширяющейся сети, архитекторы вышли далеко за пределы модернизма, возвращаясь к истокам или свободно внедряя инновации. О чем мечтали конструктивисты (санаторий «Дружба», Ялта), другие выражали свою фантазию в экспрессионистской манере (Дворец бракосочетаний, Тбилиси), летний лагерь, вдохновленный эскизами прототипа лунной базы, претендует на супрематическое влияние (молодежный лагерь «Прометей» , Богатырь).Затем идет распространенная в последние годы СССР «говорящая архитектура»: крематорий, украшенный бетонным пламенем (Крематорий, Киев), техноло гический институт с разбившейся на крыше летающей тарелкой (НИИ, Киев), политический центр, наблюдающий за вами как Большой Брат (Дом Советов, Калининград). Эта головоломка стилей свидетельствует обо всех идеологических мечтах того периода, от одержимости космосом до возрождения идентичности. В нем также описывается география СССР, показывая, как местные влияния сделали свои экзотические повороты, прежде чем страна была доведена до конца.Книга Фредерика Шобена «Космические коммунистические конструкции в фотографиях» была выбрана лучшей книгой по архитектуре 2010 года на Международном фестивале артбуков и фильмов в Перпиньян/Франция (Международный фестиваль художественной литературы и кино в Перпиньяне).Photographer Frédéric Chaubin reveals 90 buildings sited in fourteen former Soviet Republics which express what he considers to be the fourth age of Soviet architecture. His poetic pictures reveal an unexpected rebirth of imagination, an unknown burgeoning that took place from 1970 until 1990. Contrary to the 1920s and 1950s, no “school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Their diversity announced the end of the Soviet Union.Taking advantage of the collapsing monolithic structure, the holes in the widening net, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium...

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frеdеric Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990.Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad).In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frеdеric Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990.Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad).In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frederic Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990.Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad).In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Elected the architectural book of the year by the International Artbook and Film Festival in Perpignan, France, Frederic Chaubin's Cosmic Communist Constructions Photographed explores 90 buildings in 14 former Soviet Republics. Each of these structures expresses what Chaubin considers the fourth age of Soviet architecture, an unknown burgeoning that took place from 1970 until 1990.Contrary to the 1920s and 1950s, no "school" or main trend emerges here. These buildings represent a chaotic impulse brought about by a decaying system. Taking advantage of the collapsing monolithic structure, architects went far beyond modernism, going back to the roots or freely innovating. Some of the daring ones completed projects that the Constructivists would have dreamt of (Druzhba Sanatorium, Yalta), others expressed their imagination in an expressionist way (Palace of Weddings, Tbilisi). A summer camp, inspired by sketches of a prototype lunar base, lays claim to Suprematist influence (Prometheus youth camp, Bogatyr). Then comes the "speaking architecture" widespread in the last years of the USSR: a crematorium adorned with concrete flames (Crematorium, Kiev), a technological institute with a flying saucer crashed on the roof (Institute of Scientific Research, Kiev), a political center watching you like Big Brother (House of Soviets, Kaliningrad).In their puzzle of styles, their outlandish strategies, these buildings are extraordinary remnants of a collapsing system.In their diversity and local exoticism, they testify both to the vast geography of the USSR and its encroaching end of the Soviet Union, the holes in a widening net. At the same time, they immortalize many of the ideological dreams of the country and its time, from an obsession with the cosmos to the rebirth of identity.

Castles and fortresses of medieval Europe Follow photographer Frederic Chaubin as he embarks on a unique, century-spanning journey through Europe. Featuring images of more than 200 buildings in 21 countries, Stone Age presents the history and architecture of the most dramatic medieval castles of the continent in an unprecedented collection. Building on the success of his foray into Soviet design with CCCP, Chaubin once again documents the afterlife of highly rational structures that seem out of place in a modern-day world. Precursors of Brutalism, these castles value function over form and epitomize the raw materials and shapes that would go on to define so much of architectural history. Shot on film with a Linhof view camera, the collection is the outcome of five years of travel and investigation. Complete with a practical map and explanatory essay, its castles tell the story of 400 years, unfolding through the feudal Middle Ages into the 15th century. A photographic study of decay as much as endurance, Stone Age traces the history of some of these singular structures that continue to enchant their audiences today and that occupy a distinct, mystical place in our collective imagination.

Экскурсия по современному домашнему декору по всему миру. Благодаря вдохновляющему богатству и разнообразию стилей эти дома, резиденции, убежища и студии поразят и поразят, независимо от вкуса, будь то деревенский загородный коттедж, лофт в нью-йоркском стиле или богемное бунгало. В этом обзоре современного дизайна интерьера тщательно отобраны дома со всего мира — от Окленда, Новая Зеландия, до Авиньона, Франция. Эти великолепные дома, составленные на сотнях изображений известными фотографами интерьеров, предлагают вдохновение и идеи для вашего следующего ремонта. Многие из выбранных домов принадлежат творческим личностям — дизайнерам, кинематографистам и коллекционерам, чей взгляд на идеальное сочетание элементов интерьера, мягко говоря, впечатляет. Объединяя обои, мебель, текстиль и предметы искусства, тщательно уравновешивая цвет, текстуру и форму, создатели этих динамичных пространств практикуют собственную художественную форму. Эклектичный или минималистичный, старинный или ультрасовременный, этот декор отражает современный стиль во всех его проявлениях, демонстрируя бесконечные возможности и домашнюю магию дизайна интерьера.A tour of contemporary home decor around the world. With an inspirational richness and diversity of styles, these homes, residences, hideaways, and studios will astound and astonish, no matter the taste, be it rustic country cottage, New York–style loft, or bohemian bungalow. This survey of contemporary interior design carefully curates homes from all over the world—from Auckland, New Zealand, to Avignon, France. Mapped out through hundreds of images by renowned interior photographers, these gorgeous houses offer inspiration and ideas for your next renovation. Many of the selected homes are owned by creatives—designers, filmmakers, and collectors—whose eye for the perfect synthesis of interior elements is impressive, to say the least. Bringing together wallpaper, furniture, textiles, and objet d’art while cautiously balancing color, texture, and form, the creators of these dynamic spaces practice an art form of their own. Eclectic or minimal, antique or extra-modern, this variety of decor locates contemporary style in all its manifestations, showcasing the endless possibilities and home-making magic of interior design.

Отчасти история дизайна, отчасти путешествие по музыкальной памяти, эта антология обложек джазовых альбомов является, прежде всего, сокровищницей творческого и культурного вдохновения. На протяжении полувека она собирает самые смелые и динамичные джазовые обложки, которые помогли создать и сформировать не только музыкальный жанр, но и особый способ переживания жизни.Начиная с 1940-х и вплоть до упадка производства пластинок в начале 1990-х, каждый выбранный дизайн обложки отличался тем, что дополнял энергию музыки альбома собственными визуальными ритмами кадра, линии, текста и формы. Чтобы удовлетворить даже самых требовательных музыкальных фанатов, обложка каждой пластинки сопровождается информационным бюллетенем с указанием исполнителя и названия альбома, арт-директора, фотографа, иллюстратора, года выпуска, лейбла и т. д.Part design history, part trip down musical memory lane, this anthology of jazz album artwork is above all a treasure trove of creative and cultural inspiration. Spanning half a century, it assembles the most daring and dynamic jazz cover designs that helped make and shape not only a musical genre but also a particular way of experiencing life.From the 1940s through to the decline of LP production in the early 1990s, each chosen cover design is distinct in the way it complements the energy of the album’s music with its own visual rhythms of frame, line, text, and form. To satisfy even the most demanding of music geeks, each record cover is accompanied by a fact sheet listing performer and album name, art director, photographer, illustrator, year, label, and more.About the seriesTASCHEN is 40! Since we started our work as cultural archaeologists in 1980, TASCHEN has become synonymous with accessible publishing, helping bookworms around the world curate their own library of art, anthropology, and aphrodisia at an unbeatable price. Today we celebrate 40 years of incredible books by staying true to our company credo. The 40 series presents new editions of some of the stars of our program―now more compact, friendly in price, and still realized with the same commitment to impeccable production.

From the legendary Tank Girl to live-action animations with Gorillaz, a Chinese contemporary opera to an exhibition at the Saatchi Gallery, artist Jamie Hewlett is one of the most energetic figures of contemporary pop culture.

Чудеса фэнтезийного искусстваФэнтезийное искусство, эта красочная смесь мифов, мускулов и сексуальных девушек, возникло в 1923 году с запуском журнала Weird Tales, получило новый импульс в 1960-х годах с появлением «Властелина колец», книг в мягкой обложке «Конан-варвар» с обложками Фрэнка Фразетты и поздних Появление фэнтезийной психоделии в 60-х. В 70-е годы он приобрел большой успех благодаря ролевой игре Dungeons & Dragons, блестящему французскому журналу Métal Hurlant и первому фильму «Звездные войны». Число активных художников достигло пика в это десятилетие, но новое поколение поклонников открыло для себя этот жанр через фэнтезийные карточные игры в 90-х годах, что привело к огромному интересу к этому виду искусства сегодня. Картины маслом Фрэнка Фразетты, когда они нечасто поступают на рынок, за последние годы были проданы за более чем 5 миллионов долларов. Поклонники выстраиваются в очередь на Comic-Cons, чтобы встретиться с Борисом Вальехо, Родни Мэтьюзом, Грегом Хильдебрандтом, Майклом Уиланом и Филиппом Дрюйе, а также почтить память погибших героев Х. Р. Гигера, Джеффри Кэтрин Джонс и Фразетты. Представьте, с каким нетерпением они примут «Историю фэнтези-арта» TASCHEN, включая всех перечисленных выше художников и многих других. В этой книге представлены оригинальные картины, контекстуализированные предварительными эскизами, скульптурами, календарями, журналами и книгами в мягкой обложке, позволяющие погрузиться в этот динамичный, причудливый жанр. Проницательные биографии выходят за рамки Википедии и дают более точный и познавательный взгляд на жизнь каждого художника. Эта коллекция еще долгие годы будет оставаться самым изысканным и информативным путеводителем по этой популярной теме. The wonders of fantasy artFantasy art, that colorful blend of myth, muscle and sexy maidens, took off in 1923 with the launch of Weird Tales magazine, was reinvigorated in the 1960s with The Lord of the Rings, Conan the Barbarian paperbacks with Frank Frazetta covers, and the late ’60s emergence of fantasy psychedelia. It went big in the ’70s with the role-playing game Dungeons & Dragons, the brilliant French magazine Métal Hurlant, and the first Star Wars film. The number of active artists peaked in that decade, but a new generation of fans discovered the genre through fantasy trading card games in the ’90s, leading to a massive interest in the art form today. Frank Frazetta’s oil paintings — when they infrequently come to market — have sold for more than $ 5 million in recent years. Fans line up at Comic-Cons to meet Boris Vallejo, Rodney Matthews, Greg Hildebrandt, Michael Whelan, and Philippe Druillet, and memorialize dead icons HR Giger, Jeffrey Catherine Jones, and Frazetta. Imagine how eagerly they’ll welcome TASCHEN’s History of Fantasy Art, including all the artists listed above and more.This book features original paintings, contextualized by preparatory sketches, sculptures, calendars, magazines, and paperback books, for an.

Чудеса фэнтезийного искусстваФэнтезийное искусство, эта красочная смесь мифов, мускулов и сексуальных девушек, возникло в 1923 году с запуском журнала Weird Tales, получило новый импульс в 1960-х годах с появлением «Властелина колец», книг в мягкой обложке «Конан-варвар» с обложками Фрэнка Фразетты и поздних Появление фэнтезийной психоделии в 60-х. В 70-е годы он приобрел большой успех благодаря ролевой игре Dungeons & Dragons, блестящему французскому журналу Métal Hurlant и первому фильму «Звездные войны». Число активных художников достигло пика в это десятилетие, но новое поколение поклонников открыло для себя этот жанр через фэнтезийные карточные игры в 90-х годах, что привело к огромному интересу к этому виду искусства сегодня. Картины маслом Фрэнка Фразетты, когда они нечасто поступают на рынок, за последние годы были проданы за более чем 5 миллионов долларов. Поклонники выстраиваются в очередь на Comic-Cons, чтобы встретиться с Борисом Вальехо, Родни Мэтьюзом, Грегом Хильдебрандтом, Майклом Уиланом и Филиппом Дрюйе, а также почтить память погибших героев Х.Р. Гигера, Джеффри Кэтрин Джонс и Фразетты. Представьте, с каким нетерпением они примут «Историю фэнтези-арта» TASCHEN, включая всех перечисленных выше художников и многих других.В этой книге представлены оригинальные картины, контекстуализированные предварительными эскизами, скульптурами, календарями, журналами и книгами в мягкой обложке, позволяющие погрузиться в этот динамичный, причудливый жанр. Проницательные биографии выходят за рамки Википедии и дают более точный и познавательный взгляд на жизнь каждого художника. Эта коллекция еще долгие годы будет оставаться самым изысканным и информативным путеводителем по этой популярной теме.The wonders of fantasy artFantasy art, that colorful blend of myth, muscle and sexy maidens, took off in 1923 with the launch of Weird Tales magazine, was reinvigorated in the 1960s with The Lord of the Rings, Conan the Barbarian paperbacks with Frank Frazetta covers, and the late ’60s emergence of fantasy psychedelia. It went big in the ’70s with the role-playing game Dungeons & Dragons, the brilliant French magazine Métal Hurlant, and the first Star Wars film. The number of active artists peaked in that decade, but a new generation of fans discovered the genre through fantasy trading card games in the ’90s, leading to a massive interest in the art form today. Frank Frazetta’s oil paintings—when they infrequently come to market—have sold for more than $ 5 million in recent years. Fans line up at Comic-Cons to meet Boris Vallejo, Rodney Matthews, Greg Hildebrandt, Michael Whelan, and Philippe Druillet, and memorialize dead icons HR Giger, Jeffrey Catherine Jones, and Frazetta. Imagine how eagerly they’ll welcome TASCHEN’s History of Fantasy Art, including all the artists listed above and more.This book features original paintings, contextualized by preparatory sketches, sculptures, calendars, magazines, and paperback books, for an...

Кадры из крупнейшей в мире коллекции изображений Polaroid. Коллекция фотографий корпорации Polaroid — это крупнейшее в мире портфолио изображений Polaroid. Начатая основателем Polaroid Эдвином Лэндом и фотографом Анселем Адамсом, коллекция теперь включает около 23 000 изображений, сделанных сотнями фотографов со всего мира, в том числе произведения Дэвида Хокни, Энди Уорхола и Жанлу Сиффа. The Polaroid Book погружается в эти архивы, отдавая дань уважения среде, которая продолжает бросать вызов веку цифровых технологий. Подобно большому пакету фотопленки Polaroid, эта коллекция включает в себя работы как светил, так и неизвестных, прославляя безграничные возможности, которые раскрываются в белых границах оригинальной моментальной фотографии.Особенности: более 250 работ из коллекций Polaroid, эссе Барбары Хичкок из Polaroid о зарождении моментальной фотографии и истории коллекции, глава, посвященная различным типам камер Polaroid.Shots from the world’s greatest collection of Polaroid images The Polaroid Corporation’s photography collection is the greatest portfolio of Polaroid images in the world. Begun by Polaroid founder Edwin Land and photographer Ansel Adams, the collection now includes some 23,000 images by hundreds of photographers throughout the world, including pieces by the likes of David Hockney, Andy Warhol, and Jeanloup Sieff. The Polaroid Book dives into these archives, paying tribute to a medium that continues to defy the digital age. Like an oversized Polaroid film pack, this collection curates works by luminaries and unknowns alike, celebrating the boundless possibilities that develop inside the white borders of the original instant photograph. Features: more than 250 works from the Polaroid Collections an essay by Polaroid’s Barbara Hitchcock on the beginnings of instant photography and the collection’s history a chapter featuring the various types of Polaroid cameras

The definitive monograph on Ai WeiweiAs his personal circumstances move in constant flux, Ai Weiwei remains a cultural magnet. Renowned for his political activism and social media activity almost as much as for his social interventions, contemporary approach to the readymade, and knowledge of Chinese traditional crafts, Ai’s fame extends throughout and beyond the art world.Drawn from TASCHEN’s limited Collector’s Edition, this monograph explores each of Ai’s career phases up until his release from Chinese custody. It features extensive visual material to trace Ai’s development from his early New York days right through to his recent practice. Focus moments include his international breakthrough in the early 2000s, his porcelain Sunflower Seeds at the Turbine Hall of the Tate Modern, his response to the Sichuan earthquake of 2008, and his police detention in 2011. With behind-the-scenes studio pictures, production shots, and numerous statements derived from exclusive interviews with Ai, we gain privileged access to the artist’s process, influences, and importance.The book includes texts from Uli Sigg, Ai’s longtime friend and former Swiss ambassador to China and Roger M. Buergel, who curated the 2007 documenta and hosted the artist’s Fairytale piece.