Boudot anaîs (8 risultati)
- Rilegato
Da: Grand Eagle Retail, Bensenville, IL, U.S.A.Grand Eagle Retail
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 45,64
Spedizione gratuitaSpedito in U.S.A.Quantità: 1 disponibili
Hardcover. Condizione: new. Hardcover. Almost a century later, at a time when young artists are coming back to ancient processes for contemporary expression, how can we reinterpret and extend this face-to-face encounter between the artist and the glass plate, its light and its material? In the same way, in an era that claims the… place of women in the history of art, how can we question or shake up this so ordinary phenomenon of domination, whether it is the relationship to women of the artists themselves, or a certain form of resistance still today to place women artists at the heart of the creation.We have chosen to ask Anais Boudot to take up this challenge, that of an artistic confrontation around the cliche under glass, as well as that of a response to the veil that has long been imposed on women artists. Anais Boudot has created a series of works on a set of anonymous glass plates from her collection, all of which represent female figures. A modernity in the materials, in the light as well as in the tone that both challenges and imposes itself in this vis-a-vis with Picasso and Brassai.It was following a glass plate forgotten by Brassai in Picassos studio that the latter began to develop a particular work on this medium. And indeed, it is no longer virgin, exclaimed Brassai when he discovered the plate reworked by Picasso, as Heloise Conesa recalls in her introduction. Taking up the words of Anne Baldassari, she continues: The artist-toro bends over the mortal wound that he inflicts on reality so that the figure so beautiful on the silver plate may emerge. A few years later, Brassai began his Transmutations series in which he engraved not on blank plates but on original negatives.Faced with these two sacred monsters of modern art, Anais Boudot responds to an invitation from The Eyes, by taking her own collection of anonymous faces on glass, to rework them with gelatin. Among these portraits of anonymous people from the 20s, 30s and 40s, womens faces stand out. Where Picasso and Brassais scratching of the gelatin is similar to a surgical act much more intrusive to bring out the plasticity of the work, Anais Boudot chooses gilding to restore these images of unknowns, to sublimate the image of these women, these muses so little considered by these masters and forgotten by the history of art. Anais Boudots work is part of this instinctive and experimental approach, that of making the invisible visible.Spending time with these womens faces, while rubbing shoulders with two historical (male) artists with a singular relationship to women, I felt the need to react. In the end, they are the forgotten ones, because they have been sidelined for years in the history of art, relegated to the rank of muses, models and companions. Their absence is glaring and it is undoubtedly this absence that these images attempt to highlight. Anais BoudotABOUT ANAIS BOUDOTBorn in Metz in 1984, Anais Boudot graduated from the Ecole nationale superieure de la photographie in 2010 and from Le Fresnoy studio national dart contemporain in 2013. Anais Boudot pursues a work around the processes of appearance of the image and the exploration of photographic techniques. The artist is represented by the Binome gallery. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.
- Rilegato
Da: Rarewaves.com USA, London, LONDO, Regno UnitoRarewaves.com USA
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 45,64
Spedizione gratuitaSpedito da Regno Unito a U.S.A.Quantità: 3 disponibili
Hardback. Condizione: New. Almost a century later, at a time when young artists are coming back to ancient processes for contemporary expression, how can we reinterpret and extend this face-to-face encounter between the artist and the glass plate, its light and its material? In the same way, in an era that claims the place of wo…men in the history of art, how can we question or shake up this so ordinary phenomenon of domination, whether it is the relationship to women of the artists themselves, or a certain form of resistance still today to place women artists at the heart of the creation. We have chosen to ask Anaïs Boudot to take up this challenge, that of an artistic confrontation around the cliché under glass, as well as that of a response to the veil that has long been imposed on women artists. Anaïs Boudot has created a series of works on a set of anonymous glass plates from her collection, all of which represent female figures. A modernity in the materials, in the light as well as in the tone that both challenges and imposes itself in this vis-à-vis with Picasso and Brassaï. It was following a glass plate forgotten by Brassaï in Picasso's studio that the latter began to develop a particular work on this medium. "And indeed, it is no longer virgin," exclaimed Brassaï when he discovered the plate reworked by Picasso, as Héloïse Conésa recalls in her introduction. Taking up the words of Anne Baldassari, she continues: "The artist-toro bends over the mortal wound that he inflicts on reality so that the figure so beautiful on the silver plate may emerge. A few years later, Brassaï began his Transmutations series in which he engraved not on blank plates but on original negatives. Faced with these two sacred monsters of modern art, Anaïs Boudot responds to an invitation from The Eyes, by taking her own collection of anonymous faces on glass, to rework them with gelatin. Among these portraits of anonymous people from the 20s, 30s and 40s, women's faces stand out. Where Picasso and Brassaï's scratching of the gelatin is similar to a "surgical act much more intrusive to bring out the plasticity of the work", Anaïs Boudot chooses gilding to restore these images of unknowns, to sublimate the image of these women, these muses so little considered by these masters and forgotten by the history of art. Anaïs Boudot's work is part of this instinctive and experimental approach, that of making the invisible visible. "Spending time with these women's faces, while rubbing shoulders with two historical (male) artists with a singular relationship to women, I felt the need to react. In the end, they are the "forgotten" ones, because they have been sidelined for years in the history of art, relegated to the rank of muses, models and companions. Their absence is glaring and it is undoubtedly this absence that these images attempt to highlight". Anaïs Boudot ABOUT ANAÏS BOUDOTBorn in Metz in 1984, Anaïs Boudot graduated from the École nationale supérieure de la photographie in 201.
- Rilegato
Da: PBShop.store US, Wood Dale, IL, U.S.A.PBShop.store US
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 48,07
Spedizione gratuitaSpedito in U.S.A.Quantità: 5 disponibili
HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.
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Da: PBShop.store UK, Fairford, GLOS, Regno UnitoPBShop.store UK
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 46,69
EUR 4,84 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 5 disponibili
HRD. Condizione: New. New Book. Shipped from UK. Established seller since 2000.
- Rilegato
Da: Gazelle Books, Lancaster, LANCA, Regno UnitoGazelle Books
Contatta il venditoreVenditore con 4 stelleCondizione: Nuovo
EUR 35,96
EUR 64,01 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 5 disponibili
Hardback. Condizione: New. New Book, Direct from Publisher.
- Rilegato
Da: AussieBookSeller, Truganina, VIC, AustraliaAussieBookSeller
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 74,55
EUR 31,86 spedizioneSpedito da Australia a U.S.A.Quantità: 1 disponibili
Hardcover. Condizione: new. Hardcover. Almost a century later, at a time when young artists are coming back to ancient processes for contemporary expression, how can we reinterpret and extend this face-to-face encounter between the artist and the glass plate, its light and its material? In the same way, in an era that claims the… place of women in the history of art, how can we question or shake up this so ordinary phenomenon of domination, whether it is the relationship to women of the artists themselves, or a certain form of resistance still today to place women artists at the heart of the creation.We have chosen to ask Anais Boudot to take up this challenge, that of an artistic confrontation around the cliche under glass, as well as that of a response to the veil that has long been imposed on women artists. Anais Boudot has created a series of works on a set of anonymous glass plates from her collection, all of which represent female figures. A modernity in the materials, in the light as well as in the tone that both challenges and imposes itself in this vis-a-vis with Picasso and Brassai.It was following a glass plate forgotten by Brassai in Picassos studio that the latter began to develop a particular work on this medium. And indeed, it is no longer virgin, exclaimed Brassai when he discovered the plate reworked by Picasso, as Heloise Conesa recalls in her introduction. Taking up the words of Anne Baldassari, she continues: The artist-toro bends over the mortal wound that he inflicts on reality so that the figure so beautiful on the silver plate may emerge. A few years later, Brassai began his Transmutations series in which he engraved not on blank plates but on original negatives.Faced with these two sacred monsters of modern art, Anais Boudot responds to an invitation from The Eyes, by taking her own collection of anonymous faces on glass, to rework them with gelatin. Among these portraits of anonymous people from the 20s, 30s and 40s, womens faces stand out. Where Picasso and Brassais scratching of the gelatin is similar to a surgical act much more intrusive to bring out the plasticity of the work, Anais Boudot chooses gilding to restore these images of unknowns, to sublimate the image of these women, these muses so little considered by these masters and forgotten by the history of art. Anais Boudots work is part of this instinctive and experimental approach, that of making the invisible visible.Spending time with these womens faces, while rubbing shoulders with two historical (male) artists with a singular relationship to women, I felt the need to react. In the end, they are the forgotten ones, because they have been sidelined for years in the history of art, relegated to the rank of muses, models and companions. Their absence is glaring and it is undoubtedly this absence that these images attempt to highlight. Anais BoudotABOUT ANAIS BOUDOTBorn in Metz in 1984, Anais Boudot graduated from the Ecole nationale superieure de la photographie in 2010 and from Le Fresnoy studio national dart contemporain in 2013. Anais Boudot pursues a work around the processes of appearance of the image and the exploration of photographic techniques. The artist is represented by the Binome gallery. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.
- Rilegato
Da: Rarewaves.com UK, London, Regno UnitoRarewaves.com UK
Contatta il venditoreVenditore con 5 stelleCondizione: Nuovo
EUR 42,65
EUR 75,65 spedizioneSpedito da Regno Unito a U.S.A.Quantità: 3 disponibili
Hardback. Condizione: New. Almost a century later, at a time when young artists are coming back to ancient processes for contemporary expression, how can we reinterpret and extend this face-to-face encounter between the artist and the glass plate, its light and its material? In the same way, in an era that claims the place of wo…men in the history of art, how can we question or shake up this so ordinary phenomenon of domination, whether it is the relationship to women of the artists themselves, or a certain form of resistance still today to place women artists at the heart of the creation. We have chosen to ask Anaïs Boudot to take up this challenge, that of an artistic confrontation around the cliché under glass, as well as that of a response to the veil that has long been imposed on women artists. Anaïs Boudot has created a series of works on a set of anonymous glass plates from her collection, all of which represent female figures. A modernity in the materials, in the light as well as in the tone that both challenges and imposes itself in this vis-à-vis with Picasso and Brassaï. It was following a glass plate forgotten by Brassaï in Picasso's studio that the latter began to develop a particular work on this medium. "And indeed, it is no longer virgin," exclaimed Brassaï when he discovered the plate reworked by Picasso, as Héloïse Conésa recalls in her introduction. Taking up the words of Anne Baldassari, she continues: "The artist-toro bends over the mortal wound that he inflicts on reality so that the figure so beautiful on the silver plate may emerge. A few years later, Brassaï began his Transmutations series in which he engraved not on blank plates but on original negatives. Faced with these two sacred monsters of modern art, Anaïs Boudot responds to an invitation from The Eyes, by taking her own collection of anonymous faces on glass, to rework them with gelatin. Among these portraits of anonymous people from the 20s, 30s and 40s, women's faces stand out. Where Picasso and Brassaï's scratching of the gelatin is similar to a "surgical act much more intrusive to bring out the plasticity of the work", Anaïs Boudot chooses gilding to restore these images of unknowns, to sublimate the image of these women, these muses so little considered by these masters and forgotten by the history of art. Anaïs Boudot's work is part of this instinctive and experimental approach, that of making the invisible visible. "Spending time with these women's faces, while rubbing shoulders with two historical (male) artists with a singular relationship to women, I felt the need to react. In the end, they are the "forgotten" ones, because they have been sidelined for years in the history of art, relegated to the rank of muses, models and companions. Their absence is glaring and it is undoubtedly this absence that these images attempt to highlight". Anaïs Boudot ABOUT ANAÏS BOUDOTBorn in Metz in 1984, Anaïs Boudot graduated from the École nationale supérieure de la photographie in 201.
- Rilegato
- Prima edizione
Da: Okmhistoire, St Rémy-des-Monts, SARTH, FranciaOkmhistoire
Contatta il venditoreVenditore con 5 stelleCondizione: Usato - Come nuovo
EUR 90,00
EUR 33,00 spedizioneSpedito da Francia a U.S.A.Quantità: 2 disponibili
Couverture rigide. Condizione: Comme neuf. Edition originale. Paris 2021. 1 Volume/1. -- Comme Neuf -- Reliure éditeur cartonnée illustrée. Format 25,5 x 18 cm ( 324 gr ). ------ 46 pages non chiffrées avec 8 feuillets insérés. 2 planches sont dépliantes. ********************* Présentation éditeur : "" Les oubliées propose un fa…ce à face artistique, symbolique et temporel entre les oeuvres sur plaques de verre réalisées successivement par Pablo Picasso et Brassaï dans la deuxième partie des années 1930 et par la jeune artiste Anaïs Boudot. ******************* Présentation éditeur : "" Dès lors, près d un siècle plus tard, à un moment où de jeunes artistes convoquent les procédés anciens pour des expressions contemporaines, comment réinterpréter et prolonger ce face à face de l artiste avec la plaque de verre, sa lumière et sa matière ? De même, dans une époque qui revendique la place des femmes dans l histoire de l art, comment interroger ou bousculer ce phénomène si ordinaire de domination, qu il s agisse du rapport aux femmes des artistes eux-mêmes, ou d une certaine forme de résistance encore aujourd hui de placer les artistes femmes au en centre du jeu/JE. Nous avons choisi de demander à Anaïs Boudot de relever ce défi, celui d un vis-à-vis artistique autour du cliché verre, comme celui d une réponse à ce voil longtemps (im)posé sur les artistes femmes. Anaïs Boudot réalise ici une série de créations sur un ensemble de plaques de verre anonymes de sa collection représentant toutes des figures féminines. Une modernité dans les matières, dans la lumière comme dans le ton qui bouscule et s impose à la fois dans ce dialogue avec Picasso et Brassaï. "" ********************* Tirage à 1000 ex ***************** ref.
