Graham inspiré par une nouvelle de Tchekhov. Chacune des 12 séries de photos raconte un moment dans la vie d'un habitant de la banlieue américaine.

Paul Graham is part of a remarkable generation who have come to dominate art photography today. This book surveys Graham's work between 1981 and 2006, revealing the themes and issues which have come to define his oeuvre.

Published on the occasion of the Paul Graham exhibition, a shimmer of possibility at the Douglas Hyde Gallery, July 27 - September 19, 2012. Includes text, a shimmer of possibility, by John Hutchinson, and images of works from the exhibition.Dimensions: 215mm x 143mm. 32 pages, 51 colour plates. Hardback, cloth-bound with embossed title on cover. Design by Paul Graham with Peter Maybury.

In Digital Image Systems, Claus Gunti examines the antagonizing reactions to digital technologies in photography. While Thomas Ruff, Andreas Gursky and Jörg Sasse have gradually adopted digital imaging tools in the early 1990s, other photographers from the Düsseldorf School have remained faithful to film-based technologies. By evaluating the aesthetic and discursive preconditions of this situation and by extensively analyzing the digital work of these three photographers, this book shows that the digital turn in photography was anticipated by the conceptualization of images within systems, and thus offers new perspectives for understanding the »digital revolution«.

The pioneer group of the Düsseldorf School The ‘Düsseldorf School’ has become a household name in the art world for one of the most successful and influential strains of modern photography. Coined in the late 1980s, the name refers mainly to the pioneer group of students of the late Bernd Becher, who in 1976 became the first professor for creative photography at a German arts academy. His students included Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff, and Thomas Struth, all of them today internationally acclaimed artists in their own right. Whereas ‘Düsseldorf School’ initially was used as a handy term for a group of artists with the same university’s background, it quickly turned into a powerful brand name both in critical and commercial contexts. Despite its welcomed impact on the art scene, the members of the ‘School’ felt rather ambiguous about their perception as a group which turned them into stars but simultaneously risked levelling individual profiles and differences. What exactly connects and distinguishes them aesthetically is for the first time thoroughly explored in Maren Polte’s pioneering study.