Bøger udgivet af ED XAVIER BARRAL

Montaigu de Quercy, ses onze églises aux merveilleux vitraux, ses moulins (oui celui de Bagor, à la limite du département lotois, est bien implanté sur le territoire), ses rues, ses pierres, ses pigeonniers... Sa nature, ses chats, chiens, chevaux... et ceux de passage... Sur les routes, d'Aurignac à Soussis, près de 22 kilomètres, en passant par Couloussac, Bonneval, Gouts, Bournac, Auriac, Pervillac, Ste Cécile et St Vincent... et naturellement le coeur du village 126 photos, en couleur... Stéphane Ternoise Lotois mais si souvent à Montaigu... www.montaigu.info

The evolution of Chaplin's tramp: a gorgeous facsimile of a film scholar's lovingly made scrapbook from the 1940sCharlie Chaplin: The Keystone Album brings together 794 images--technically photograms, printed directly from film frames--from 29 of Charlie Chaplin's first 36 short films made with the Keystone Film Company in 1914. The strips trace the evolution of Chaplin's iconic Tramp character as the actor developed his trademark gestures in his short films, before eventually immortalizing the character in the 1915 feature The Tramp. These images were found in a curious document, dubbed "The Keystone Album," laid out almost like a comic book, with handwritten captions giving the titles of the films and their reconstituted scenarios. It was confirmed in 2014 that H.D. Waley, a former artistic director of the British Film Institute, compiled the extraordinary album in the 1940s in order to keep a record of the original versions of Chaplin's first films, which were being restored at the time. This beautiful Japanese-bound volume reproduces The Keystone Album in a facsimile edition that faithfully retains the look and spirit of the original, including all 794 original images and their meticulous handwritten annotations (transcribed at the back of the book) in their original layouts, as well as new texts by Carole Sandrin, Sam Stourdzé and Glenn Mitchell.

Since 1982, Paris Audiovisual and the Maison Européenne de la Photographie (MEP) have commissioned great photographers to capture their views of Paris. Taking up the task after Henri Cartier-Bresson, Edouard Boubat, Ralph Gibson, Mimmo Jodice, Bruce Davidson and others, Martin Parr (born 1952) hones in on the city, and on Parisians and the tourists who inundate the French capital. He visits the Notre Dame cathedral, sightseer-laden riverboats, the Champs-Élysées on Bastille Day, the Paris Air Show, the Agricultural Show, along with fashion shows, museums and art fairs. Martin Parr: Grand Paris collects more than 40 of Parr's photographs, most of which are previously unpublished, that range from newly conceived images to the iconic and the oldest of Parisian clichés. This volume, an astonishing and uncompromising portrayal of the French capital, is presented as an accurate Paris map in layout--even including the street index--with Parr's photographs taking the place of the traditional maps.

Immaculately produced by French publisher Xavier Barral, this stunning facsimile of Alfred Ehrhardt's masterpiece Das Watt makes this key work of photobook history available to the public at long last.Singled out in Martin Parr and Gerry Badger's The Photobook: A History as a key example of early 20th-century abstraction, Ehrhard's striking compositions highlight the geometric patterns in natural forms. His formal stance and sequencing show the strong influence of his years at the Bauhaus. Produced by Xavier Barral to an exacting standard with rich blacks beautifully printed on high-quality paper, this facsimile volume captures the magnificant densities of the original and is an important addition to any photography book libraryAlfred Ehrhardt (1901-1984) taught at the Bauhaus between 1928 and 1933 alongside scenographer Oskar Schlemmer and painters Josef Albers and Wassily Kandinsky. Accused of Bolshevism in 1933 by the Nazis, Erhardt was forced to leave the Bauhaus. At that time he was working in painting, drawing and printmaking, but his exile precipitated a turn toward photography and film, whose fundamentals he taught himself. In 1934, after leaving Germany, Ehrhardt produced his first photographic reportage--a series of spare, enigmatic images taken on the windswept sand dunes of the Curonian Spit along the Lithuanian-Russian border.

In late 1975, American photographer Jane Evelyn Atwood (born 1947) was 28 years old and had recently moved to Paris. She quickly developed a fascination with the city's prostitutes, and soon met a women who introduced her to a prostitute she knew. Developing the theme from portraits of this single sitter, Atwood discovered an intriguing subculture around one building on the Rue des Lombards, full of extraordinary characters, costumes and views on gender and sexuality. Atwood's now hallmark immersive style of photojournalism led her deep into this world: "I was always turned on by a person or a group of people and then wanted to know them," she recalled in a recent interview, "and photographing them became a way of knowing them." This volume presents a formative body of work by one of the world's leading photojournalists.

William Kentridge's recent work is situated on the border between art and science: by examining our perception and understanding of time, he reconsiders the creative process. A work in progress in the truest sense, The Refusal of Time continues and deepens the polymorphic, dreamlike, political and humanist body of work developed by Kentridge from his very earliest days as an artist. An installation with performance elements, The Refusal of Time was conceived by Kentridge and science historian Peter Galison for Documenta 13, and realized in collaboration with video filmmaker Catherine Meyburgh and composer Philip Miller, both of whom worked with Kentridge and Galison for a year. Time in its various manifestations--narrative, fragmented, slowed down and speeded up; distortions of space-time; simultaneity--is explored through various media, including dance, film, music and spoken word. The book itself is a work of art; it includes sketches and notebooks, all the texts read during the performance, pictures from the rehearsals and workshop as well as highlights of the show, interviews and drawings created specially for it by Kentridge.

This superbly produced, slipcased monograph on cult Dutch photographer Gerard Petrus Fieret (1924-2009) gathers a range of his blurry, age-toned, often erotic black-and-white portraits of women, children, shop windows and Fieret himself.

"Celebrating the 106-year-old jewelry house's glittering history." -Kristin Buettner, Harper's BazaarSince opening its first boutique on the Place Vendôme in Paris in 1906, Van Cleef & Arpels has played a pioneering role in the development of the art of jewelry design. Now, on the occasion of a major exhibition at the Museum of Contemporary Art in Shanghai, The Art of Beauty explores the history and the accomplishments of the firm through more than 400 of its most celebrated works. Loaned from the Van Cleef & Arpels museum and private collections worldwide, these works include classic timepieces, jewels, fashion accessories and objets d'art; the volume places particular emphasis on Van Cleef & Arpels' Chinese inspirations. Among the many milestones of jewelry they have produced are the first watch with a leather strap (1923); the famous "Mystery Setting" technique, a paving procedure that uses no visible claws to contain the stone; the Zip necklace, which opens and closes like a zip (1950); and more recently, the Lotus "Between-the-Finger" ring (2001). Van Cleef & Arpels' highly demanding gemmologists select only the most exceptional stones for the firm's magnificent creations. With 280 full-color reproductions, The Art of Beauty celebrates Van Cleef & Arpels' unrivalled excellence and its quest for perfect beauty.

In September 2009, Fabienne Verdier embarked on the execution of four monumental murals for the walls of the Palazzo Torlonia in Rome. The photographer Philippe Chancel installed himself in Verdier's studio over the course of ten months, to record the genesis of these paintings and the work of the artist. This volume records their odyssey together.

Photographer Philippe Chancel (born 1959) has mined the terrain between art, documentary and journalism for over 20 years. Between 2007 and 2009, Chancel made several visits to the United Arab Emirates, and found a country overwhelming in its architectural giganticism and astounding in its determination to domesticate a hostile environment. The resultant feeling of artifice is ubiquitous: the desert grows green, seawater is desalinated and new islands rise out of the sea. Moving from one air-conditioned space to another, from apartment to limousine, from limousine to shopping mall, from shopping mall to theme park, Chancel found irresistible pictures to take at every turn. Under his gaze, the United Arab Emirates is laid bare as the realization of the consumer society ideal, in which humans exist in a wholly manmade domain. With his characteristic frontal, distanced framing, devoid of judgment and emotion, Chancel portrays a country that is at once baffling and fascinating.