New York isn't what it used to be, so why haven't New York's photographers and photographic books caught up with reality? Why do picture-makers continue to mimic the gritty glamour and aggression of William Klein's New York images, or stalk up and down Fifth and Madison Avenues paying peculiar homage to Garry Winogrand, or struggle to rediscover the romance of Nan Goldin's Lower East Side, on streets now clogged with Starbucks and designers' tenement-scaled emporia?
What makes Mitch Epstein's most recent book, The City, particularly interesting is witnessing Epstein's attempt to breathe life back into a classic, albeit tired, genre. Instead of the usual raucous juxtapositions of visual clichés—pictures crammed with street corner sturm und drang and urban gargoyles—The City's elliptical narrative unfolds quietly. There's a meditative, almost medicated calmness to the book's color still lifes and cityscapes: the droll display of overwrought deli cakes; a street festival shooting gallery's targets, featuring the faces of Timothy McVeigh, Amy Fisher and Hitler, offering discounted prices for kids; the sports jacket, carefully folded and placed on the grass in Central Park, whose banal but eerie presence suggests anything from a lunchtime nap to murder.
To complicate matters, these images are interspersed with black-and-white portraits—of Epstein's wife, daughter, friends and acquaintances—that are equally enigmatic. Some subjects smile; some look into the distance. Still others stare back—with willful intent, or unable or uninterested in hiding their vulnerability—through the camera's lens. As complex and beautiful as Epstein's photographs of New York situations are, as intimate as his portraits might be, The City ultimately creates something surprising; the opportunity to ponder what photography can and cannot reveal about our public lives and our most private selves.By Marvin Heiferman
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
New York isn't what it used to be, so why haven't New York's photographers and photographic books caught up with reality? Why do picture-makers continue to mimic the gritty glamour and aggression of William Klein's New York images, or stalk up and down Fifth and Madison Avenues paying peculiar homage to Garry Winogrand, or struggle to rediscover the romance of Nan Goldin's Lower East Side, on streets now clogged with Starbucks and designers' tenement-scaled emporia?
What makes Mitch Epstein's most recent book, The City, particularly interesting is witnessing Epstein's attempt to breathe life back into a classic, albeit tired, genre. Instead of the usual raucous juxtapositions of visual clichés—pictures crammed with street corner sturm und drang and urban gargoyles— The City's elliptical narrative unfolds quietly. There's a meditative, almost medicated calmness to the book's color still lifes and cityscapes: the droll display of overwrought deli cakes; a street festival shooting gallery's targets, featuring the faces of Timothy McVeigh, Amy Fisher and Hitler, offering discounted prices for kids; the sports jacket, carefully folded and placed on the grass in Central Park, whose banal but eerie presence suggests anything from a lunchtime nap to murder.
To complicate matters, these images are interspersed with black-and-white portraits—of Epstein's wife, daughter, friends and acquaintances—that are equally enigmatic. Some subjects smile; some look into the distance. Still others stare back—with willful intent, or unable or uninterested in hiding their vulnerability—through the camera's lens. As complex and beautiful as Epstein's photographs of New York situations are, as intimate as his portraits might be, The City ultimately creates something surprising; the opportunity to ponder what photography can and cannot reveal about our public lives and our most private selves.By Marvin Heiferman
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
Vendeur : ANARTIST, New York, NY, Etats-Unis
Hardcover with dustjacket, unpaginated, very good condition except very light impressions and scratches to dj; no internal marks. Foreign shipping may be extra. N° de réf. du vendeur MiEppo30
Quantité disponible : 1 disponible(s)
Vendeur : World of Books (was SecondSale), Montgomery, IL, Etats-Unis
Etat : Good. Item in good condition. Textbooks may not include supplemental items i.e. CDs, access codes etc. N° de réf. du vendeur 00099333842
Quantité disponible : 1 disponible(s)
Vendeur : A Book Preserve/ John A. Crider, Bookseller, Columbus, OH, Etats-Unis
Hardcover. Etat : Near Fine. 1st Edition. First Printing. Near fine hardcover in VG+ dustjacket. Powerhouse, 2001. No ownership or remainder marks. Lower corner of pages slightly bumped. Ships fast with tracking. N° de réf. du vendeur E02-567-09-009
Quantité disponible : 1 disponible(s)
Vendeur : Jeff Hirsch Books, ABAA, Wadsworth, IL, Etats-Unis
Etat de la jaquette : dj. First Edition. First edition and first printing. Oblong hardcover. A collection of 85 four color images of New York City taken between 1995 through 1999. A fine copy in blue cloth boards and in fine dust jacket. N° de réf. du vendeur 211445
Quantité disponible : 1 disponible(s)
Vendeur : Great Books&Cafe @ The Williamsford Mill, Williamsford, ON, Canada
Cloth. Etat : Fine. Etat de la jaquette : Fine. unpaginated. "a visual poem to New York City" Magnificent b&w and color photos. N° de réf. du vendeur 006989
Quantité disponible : 1 disponible(s)
Vendeur : San Francisco Book Company, Paris, France
Hardcover. Etat : Very good. Etat de la jaquette : very good. Cloth/dust jacket Small Quarto. blue cloth, blindstamped lettering, dust jacket, unpaginated. N° de réf. du vendeur 109996
Quantité disponible : 1 disponible(s)
Vendeur : BennettBooksLtd, Los Angeles, CA, Etats-Unis
hardcover. Etat : New. In shrink wrap. Looks like an interesting title! N° de réf. du vendeur Q-1576871010
Quantité disponible : 1 disponible(s)