Introduction | |
1 | Modernism |
2 | Modernism: Portraits |
Photographers | |
3 | Laszlo Moholy-Nagy: Viewpoints |
4 | Florence Henri: Compositions |
5 | Piet Zwart: 12 Fotografien (Portfolio) |
6 | Germaine Krull: Métal |
7 | Edward Weston: Vegetables |
8 | Edward Weston: Shells |
9 | Charles Sheeler: Criss-Crossed Conveyors, River Rouge Plant, Ford Motor Company |
10 | E.O. Hoppé: Amerika |
11 | Albert Renger-Patzsch: Die Welt ist schön |
12 | John Vanderpant: Canadian Modernism |
Cinema and experimental photography | |
13 | Sergei Eisenstein: Strike (1925) |
14 | Dziga Vertov:The Man with a Movie Camera (1929) |
Case studies | |
15 | USA: New Mexico: Taos |
16 | France: Marseille: The Transporter Bridge (Pont Transbordeur) |
Introduction | |
1 | Modernism |
2 | Modernism: Portraits |
Photographers | |
3 | Laszlo Moholy-Nagy: Viewpoints |
4 | Florence Henri: Compositions |
5 | Piet Zwart: 12 Fotografien (Portfolio) |
6 | Germaine Krull: Métal |
7 | Edward Weston: Vegetables |
8 | Edward Weston: Shells |
9 | Charles Sheeler: Criss-Crossed Conveyors, River Rouge Plant, Ford Motor Company |
10 | E.O. Hoppé: Amerika |
11 | Albert Renger-Patzsch: Die Welt ist schön |
12 | John Vanderpant: Canadian Modernism |
Cinema and experimental photography | |
13 | Sergei Eisenstein: Strike (1925) |
14 | Dziga Vertov:The Man with a Movie Camera (1929) |
Case studies | |
15 | USA: New Mexico: Taos |
16 | France: Marseille: The Transporter Bridge (Pont Transbordeur) |