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Photography of plants --- Plantes --- Exhibitions. --- Photographie --- Expositions --- Blossfeldt, Karl, --- artistieke fotografie --- Art --- CDL --- 77.071 BLOSSFELDT --- Exhibitions --- Blossfeldt, Karl --- Photography of flowers --- Plants

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Karl Blossfeldt (1865-1932) a photographié des milliers de plantes. Ses prises de vue devaient servir de matériau d'observation pour ses cours à l'Ecole des Arts décoratifs de Berlin. La nature allait inspirer

Blossfeldt, Karl --- Botanique --- Nature, thème --- Photographie documentaire --- Photography of plants --- Blossfeldt, Karl, --- Criticism and interpretation --- Hans Christian Adam --- fotografie --- Duitsland --- Karl Blossfeldt 1865-1932 (°Schielo, Unterharz, Duitsland) --- Blossfeldt Karl --- Fotografen ; 19de en 20ste eeuw ; Karl Blossfeldt --- botanica --- Thema's in de fotografie ; planten --- planten --- 77.092.07 --- 77.071 BLOSSFELDT --- Fotografen A - Z --- Photography of flowers --- Plants --- Criticism and interpretation. --- Blossfeldt, Karl, - 1865-1932 - Criticism and interpretation --- Blossfeldt, Karl, - 1865-1932

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In "Paperwork and the Will of Capital", Simon examines accords, treaties, and decrees drafted to influence systems of governance and economics, from nuclear armament to oil deals and diamond trading. All involve the countries present at the 1944 United Nations Monetary and Financial Conference in Bretton Woods, New Hampshire, which addressed the globalization of economics after World War II, leading to the establishment of the International Monetary Fund (IMF) and the World Bank. In images of the signings of these documents, powerful men flank floral centerpieces designed to underscore the importance of the parties present. Simon's photographs of the recreated centerpieces from these signings, together with their stories, underscore how the stagecraft of political and economic power is created, performed, marketed, and maintained. Each of Simon's recreations of these floral arrangements represents an “impossible bouquet”, a concept that emerged in Dutch still-life painting parallel to the country's seventeenth-century economic boom, which ushered in the development of modern capitalism. Then, the impossible bouquet was an artificial fantasy of flowers that could never bloom naturally in the same season and geographic location. Now the fantasy is made possible, both in the original signings and in Simons´' photographs by the global consumer market. -- publisher's statement.

politics --- flora [plants] --- flower pieces --- investigation --- power --- Art --- Simon, Taryn --- Plants in art --- Heads of state --- Signing ceremonies --- Photography of plants. --- 7.07 --- Photography of flowers --- Plants --- Heads of government --- Rulers --- State, Heads of --- Executive power --- Statesmen --- Kunstenaars met verschillende disciplines, niet traditioneel klasseerbare, conceptuele kunstenaars A - Z --- Simon, Taryn, --- Exhibitions --- 745.54 --- 7.043 --- Beeldende kunst ; 21ste eeuw ; 2000-2016 ; T. Simon --- Conceptuele kunst --- Kunst en politiek --- Papiersnijkunst ; papierknipkunst ; bloemen --- Simon, Taryn °1975 (°New York, Verenigde Staten) --- Thema's in de kunst ; bloemen en planten --- Document signing ceremonies --- Document signings --- Signings, Document --- Decoratieve kunstnijverheid ; knutseltechnieken ; papier --- Iconografie ; planten, bomen, vruchten --- Photography of plants --- fotografie --- eenentwintigste eeuw --- Simon Taryn --- Verenigde Staten --- stillevenfotografie --- plantenfotografie --- 77.071 SIMON --- Rites and ceremonies