{"id":582,"date":"2010-04-30T22:44:31","date_gmt":"2010-04-30T20:44:31","guid":{"rendered":"http:\/\/culturevisuelle.org\/icones\/?p=582"},"modified":"2010-04-30T22:44:31","modified_gmt":"2010-04-30T20:44:31","slug":"parution-etudes-photographiques-n25","status":"publish","type":"post","link":"http:\/\/histoirevisuelle.fr\/cv\/icones\/582\/","title":{"rendered":"Parution &quot;Etudes photographiques&quot; n\u00b025"},"content":{"rendered":"<p><a href=\"http:\/\/www.flickr.com\/photos\/gunthert\/4565958017\/sizes\/o\/\"><img decoding=\"async\" loading=\"lazy\" class=\"alignleft\" src=\"http:\/\/farm4.static.flickr.com\/3366\/4565958017_9ac8b4af30.jpg\" alt=\"\" width=\"329\" height=\"500\" \/><\/a>La Soci\u00e9t\u00e9 fran\u00e7aise de photographie annonce la parution d\u00e9but mai du n\u00b0 25 d&rsquo;<em>Etudes photographiques<\/em>.<\/p>\n<p><strong>Sommaire<\/strong><\/p>\n<ul>\n<li>Olivier Lugon, \u00ab\u00a0Avant la forme tableau. Le grand format photographique dans l\u2019exposition <em>Signs of Life<\/em>, 1976\/Before the Tableau Form: Large Photographic Formats in the Exhibition <em>Signs of Life<\/em>, 1976&Prime;<\/li>\n<li>\u00c9l\u00e9onore Challine, \u00ab\u00a0La m\u00e9moire photographique. Les comm\u00e9morations de la photographie en France (1880-1940)\/Photography and Memory: Commemoration of Photography in France (1880-1940)\u00a0\u00bb<\/li>\n<li>Dominique de Font-R\u00e9aulx, \u00ab\u00a0Les audaces d\u2019une position fran\u00e7aise.  Les enjeux de l\u2019exposition <em>Un Si\u00e8cle de Vision Nouvelle<\/em> \u00e0 la Biblioth\u00e8que Nationale (1955)\/The Bold Innovations of a French Exhibition: <em>Un Si\u00e8cle de Vision  Nouvelle<\/em> at the Biblioth\u00e8que Nationale (1955)\u00a0\u00bb<\/li>\n<li>Portfolio : Jean-Luc Moul\u00e8ne, \u00ab\u00a0Sommeils hant\u00e9s\/Haunted Sleeps\u00a0\u00bb<\/li>\n<li>Laure Poupard, \u00ab\u00a0Un microcosme hors du temps, la Floride dans l\u2019Am\u00e9rique en crise.  Les photographies de la Gold Avenue de Marion Post Wolcott (1939-1941)\/A Microcosm Untouched by Time &#8211; Florida in an America in Crisis: Marion Post Wolcott\u2019s Photographs of Gold Avenue (1939-1941)\u00a0\u00bb<\/li>\n<li>Jean-Pierre Montier, \u00ab\u00a0Henri Cartier-Bresson, Figure de l\u2019intellectuel?\/Henri Cartier-Bresson, a Figure of the Public Intellectual?\u00a0\u00bb<\/li>\n<li>Pierre-Henry Frangne, \u00ab\u00a0L\u2019image d\u00e9hiscente. Th\u00e9ophile Gautier et la photographie de montagne des fr\u00e8res Bisson\/The Dehiscent Image: Th\u00e9ophile Gautier and the Mountain Photographs of the Bisson Brothers\u00a0\u00bb<\/li>\n<li>Pauline Martin, \u00ab\u00a0Le flou du peintre ne peut \u00eatre le flou du photographe. Une notion ambivalente dans la critique photographique francaise au milieu du XIXe si\u00e8cle\/The \u2018Flou\u2019 of the Painter Cannot be the \u2018Flou\u2019 of the Photographer: An Ambiguous Notion in French Photography Criticism in the Mid-Nineteenth Century\u00a0\u00bb<\/li>\n<\/ul>\n<p>24\u20ac, abonnement France: 40\u20ac\/\u00e9tranger: 50\u20ac. Contact, abonnement: chabert.sfp(\u00e0)free.fr<\/p>\n","protected":false},"excerpt":{"rendered":"<p>La Soci\u00e9t\u00e9 fran\u00e7aise de photographie annonce la parution d\u00e9but mai du n\u00b0 25 d&rsquo;Etudes photographiques. Sommaire Olivier Lugon, \u00ab\u00a0Avant la forme tableau. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[26,29],"tags":[54,62],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/p80eNK-9o","jetpack-related-posts":[{"id":1266,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/1266\/","url_meta":{"origin":582,"position":0},"title":"Parution \u201cEtudes photographiques\u201d n\u00b026","date":"9 d\u00e9cembre 2010","format":false,"excerpt":"La Soci\u00e9t\u00e9 fran\u00e7aise de photographie annonce la parution du n\u00b0 26 d\u2019Etudes photographiques. Sommaire Thierry Gervais, Vanessa R. Schwartz, Christian Delage, \"Introduction\" Thierry Gervais, \"Le plus grand des photographes de guerre. Jimmy Hare, photoreporter au tournant du 19e et du 20e s.\/The Greatest of war photographers\u2019: Jimmy Hare, A Photojournalist\u2026","rel":"","context":"Dans &quot;Lhivic&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/farm6.static.flickr.com\/5166\/5245894059_ab769e1c93_d.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1132,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/1132\/","url_meta":{"origin":582,"position":1},"title":"Colloque &quot;Imaginaires du pr\u00e9sent&quot;","date":"9 octobre 2010","format":false,"excerpt":"Colloque international sous la direction de Vincent Lavoie, 22-23 octobre 2010, Universit\u00e9 du Qu\u00e9bec \u00e0 Montr\u00e9al, Grande Biblioth\u00e8que, salle M 450, 475 bd de Maisonneuve Est, Montr\u00e9al, Canada. Quelles que soient les mutations technologiques et m\u00e9diatiques touchant les imageries \u00e9v\u00e9nementielles, quelle que soit la r\u00e9ponse des soci\u00e9t\u00e9s contemporaines aux \u00e9v\u00e9nements\u2026","rel":"","context":"Dans &quot;Agenda&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/histoirevisuelle.fr\/cv\/icones\/wp-content\/uploads\/2010\/10\/imaginairesdupresentaff.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":1684,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/1684\/","url_meta":{"origin":582,"position":2},"title":"Parution \u201cEtudes photographiques\u201d n\u00b027","date":"13 mai 2011","format":false,"excerpt":"La Soci\u00e9t\u00e9 fran\u00e7aise de photographie annonce la parution du n\u00b0 27 d\u2019Etudes photographiques (mai 2011). Sommaire Images de guerre Georges Didi-Huberman, \"\u00c9chantillonner le chaos. Aby Warburg et l\u2019atlas photographique de la Grande Guerre\/Sampling Chaos: Aby Warburg and the Photographic Atlas of the Great War\" Portfolio: Mathieu Pernot, \"Migrants\" Photographies mises\u2026","rel":"","context":"Dans &quot;Publications&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/histoirevisuelle.fr\/cv\/icones\/wp-content\/uploads\/2011\/05\/EP27lr-326x500.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":2063,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/2063\/","url_meta":{"origin":582,"position":3},"title":"Reparution &quot;La photographie en France au XIXe si\u00e8cle&quot;","date":"7 octobre 2011","format":false,"excerpt":"A l'occasion de la rentr\u00e9e Gis\u00e8le Freund (exposition \u00e0 la fondation Pierre Berg\u00e9, 14\/10; rencontre \u00e0 l'IMEC le 27\/10), les \u00e9ditions Christian Bourgois ont eu l'heureuse id\u00e9e de reproduire en fac-simil\u00e9 La photographie en France au XIXe si\u00e8cle, sa th\u00e8se de doctorat, soutenue en 1936, depuis longtemps introuvable. Je reproduis\u2026","rel":"","context":"Dans &quot;Publications&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/histoirevisuelle.fr\/cv\/icones\/wp-content\/uploads\/2011\/10\/freund_histoire.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":279,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/279\/","url_meta":{"origin":582,"position":4},"title":"Un tour dans la photographie de tourisme (bibliographie)","date":"18 d\u00e9cembre 2009","format":false,"excerpt":"La photographie de tourisme peut \u00eatre consid\u00e9r\u00e9e comme un \u00abart populaire\u00bb, ce que Pierre Bourdieu d\u00e9finit par la propri\u00e9t\u00e9 de \u00absubordonner l\u2019activit\u00e9 artistique \u00e0 des fonctions socialement r\u00e9gl\u00e9es\u00bb, et pour lequel une analyse qui prend en compte les pratiques et les usages est plus appropri\u00e9e qu\u2019une approche intrins\u00e8quement esth\u00e9tique. Il\u2026","rel":"","context":"Dans &quot;Invit\u00e9s&quot;","img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":2747,"url":"http:\/\/histoirevisuelle.fr\/cv\/icones\/2747\/","url_meta":{"origin":582,"position":5},"title":"Histoire(s) de la photographie","date":"21 juin 2013","format":false,"excerpt":"A l'occasion de la parution du n\u00b0 2013-1 de la revue Perspective, je publie, avec l'autorisation de la r\u00e9daction et des auteurs, un \u00e9change de points de vue consacr\u00e9 \u00e0 l'histoire de la photographie, pilot\u00e9 par Olivier Lugon, avec David Campany, Mathew S. Witkowsky et moi-m\u00eame. [AG] L\u2019histoire de la\u2026","rel":"","context":"Dans &quot;Contributions&quot;","img":{"alt_text":"","src":"https:\/\/i0.wp.com\/histoirevisuelle.fr\/cv\/icones\/wp-content\/uploads\/2013\/06\/Perspective_2013_1-368x500.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/posts\/582"}],"collection":[{"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/comments?post=582"}],"version-history":[{"count":0,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/posts\/582\/revisions"}],"wp:attachment":[{"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/media?parent=582"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/categories?post=582"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/histoirevisuelle.fr\/cv\/icones\/wp-json\/wp\/v2\/tags?post=582"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}