Search results for ""Archive of Modern Conflict""

In The Corinthians, curators Ed Jones and Timothy Prus present more than 200 slides taken with Kodachrome film. The images in this collective visual portrait describe the new prosperity of a postwar United States, highlighting barbecues, big cars and families on vacation.

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The Night Climbers of Cambridge, published in 1937, documents the nocturnal climbing exploits of a group of Cambridge students along the university’s roofs and walls. In this interpretation, Thomas Mailaender presents archival photographs the climbers took of themselves in action.

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In 2011, Bruce Gilden was commissioned by the Archive of Modern Conflict to photograph the people and places of London. Working in both colour and black and white, Bruce Gilden captured the diversity of characters that populate the streets of London. One rarely sees portraits which are so intense, full on and intimate at the same time. The resultant book, published by The Archive of Modern Conflict, is A COMPLETE EXAMINATION OF MIDDLESEX.

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Don McCullin (born 1935) has photographed dramas of everyday life in his home city of London as well as in the world’s most dangerous conflict zones. This publication features 130 works, including social documentary work in England, the Berlin Wall series, award-winning pieces on war and famine, and more.

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In The Whale's Eyelash, curator Timothy Prus compiles a series of 19th-century microscope slides in the form of a fictional play, narrating the origin and demise of humankind.

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With reproductions of 347 previously unpublished images, this publication surveys a rarely seen side of life in the Nazi Third Reich. These highly personal photographs come from private albums compiled by the soldiers themselves, recording moments of diversion and repose.

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British documentary photographer and artist Stephen Gill (born 1971) presents a collection of found photographs from postwar Hackney, a borough in East London, in the 1950s. Photographer unknown, these high-quality, medium-format images all depict couples kissing on their wedding days, surrounded by overexposed wedding cakes, guests and decadent flower arrangements.

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All 82 photographs included in this two-volume set date from the Second World War; none were taken by professional photographers. In the back of each volume the images are exhibited at their actual size, showing front and back. In the front sections, the images are enlarged. This edit provides a guidebook to the stratified emotions of warfare.

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Enigmatic Hungarian photographer Gergely Papp (1922-2000) was born into a peasant family, on a farmstead in Pusztaecseg (now Ecsegfalva) in Eastern Hungary. He would live there for the rest of his life. In 1938, Papp learned the mechanics of photography from his brother and took to depicting life in the village: christenings, harvests, hunting, weddings, funerals and much more. Papp documented provincial life in Hungary before and throughout World War II, the communist regime and failed 1956 revolution. He eventually stopped taking photographs in early 1963. Distressed by the forced nationalization of the family's land, Papp went out, cut down his fruit trees and took a final self-portrait in the remains. The life and work of Gergely Papp was little known until his images were encountered by Hungarian art historian Tibor Miltenyi in the 1990s, shortly before Papp's death. While much of Papp's archive was destroyed by local vandals, the Archive of Modern Conflict has acquired the few surviving photographs; many appear here, published for the first time.

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The 20th century in 10 extraordinary moments: a photographic journey by bestselling historian Rory Maclean In the 20th century, amateur photography took history—and collective memory—out of the hands of historians and gave it to individuals. In Pictures of You, bestselling British-Canadian historian and travel writer Rory MacLean narrates a journey through 10 photographs, across the globe and into the lives of 10 ordinary men and women who lived through extraordinary times. Each photograph (or group of photographs) comes from a different decade of the 20th century: the first killing of the Cold War; the dying hopes of a doomed aviator; the ghosts of Native America at Alcatraz; Chairman Mao’s most timid lover; Nature’s final battle with humankind. Through these images, MacLean ventures from Siberia to Rangoon, China to Shepperton Studios, hearing forgotten voices that echo from the depths of time, picturing lives that mirror our own, and saving the stories behind these pictures of you. All of these images belong to the Archive of Modern Conflict in London. Over the last 25 years the Archive’s small collection of amateur photographs has grown into one of the world’s most moving image treasuries, its shelves now holding pictures of some four million lost lives. “A delicately beautiful book, haunting in its effect. Superb.” –Alexander McCall Smith “Stunning! A unique virtuoso exercise in empathy, narrative and imagination.” –Jan Morris

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The study of Renaissance drawings allows for an intensive exploration of how artists constructed their works and how they thought, often by revealing the artists' ideas through the examination of private images that were deemed inappropriate for more public viewing. Rethinking Renaissance Drawings presents new and original research from art historians and curators from leading universities and museums across North America and Europe. Previous studies on drawings tend to focus on the work of one artist or a small regional group of artists. The essays in this collection address larger issues of the forms and functions of drawing in the Renaissance by exploring a variety of perspectives, including discussions of the process of drawing, the often unorthodox imagery of Renaissance drawings, the collecting and copying of Renaissance drawings, and the works of artists such as Michelangelo, Raphael, Bosch, Parmigianino, Annibale Carracci, Guercino, and Rembrandt. Some of the drawings discussed are exciting new discoveries, published here for the first time, whereas others are familiar works, but shown in a new light. Collectively, these studies offer alternate views of Renaissance art and show more intimate aspects of a period that is often remembered for its paintings and large-scale public monuments. Contributors include David de Witt (Rembrandt House Museum), Stephanie Dickey (Queen's University), Pierre du Prey (Queen's University), David Ekserdjian (University of Leicester), David Franklin (Archive of Modern Conflict), Catherine Monbeig Goguel (Musee du Louvre), Franziska Gottwald (Amsterdam), Sharon Gregory (St Francis Xavier University), Sally Hickson (University of Guelph), Michel Hochmann (Ecole Pratique des Hautes Etudes), Cathleen Hoeniger (Queen's University), Charles Hope (Warburg Institute), Paul Joannides (Cambridge University), Casey Lee (Queen's University), James Mundy (Frances Lehman Loeb Art Center), Aimee Ng (Frick Collection), Sebastian Schutze (University of Vienna), Allison Sherman (Queen's University), Ron Spronk (Queen's University), Steven Stowell (Concordia University), Nicholas Turner (J. Paul Getty Museum), and Catherine Whistler (The Ashmolean).

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