Impression de Voyage 2 Texts in French by Bruno le Dantec and Jose Agustin. Antoine Dâ€TMAgata has traveled the worldâ€TMs darkest corners collecting images of prostitutes addicts war-torn communities and the homeless. De Mala Muerte and Mala Noche were his first and now scarce publications.
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Description du livre En Vues, 1998. Album. État : Used: Very Good. In French. Very carefully read. Cover as light shelf wear except several small marks on the back. N° de réf. du libraire LO-F25X-CHIE
Description du livre En Vues, Nantes, France, 1998. Hardcover. État : Fine. 1st Edition. First edition, first printing. Hardcover. Photographically illustrated paper-covered boards; no dust jacket as issued. Photographs by Antoine D'Agata. Texts (in French) by Bruno Le Dantec and Jose Agustín. Includes biographies on the contributors. 104 pp., with 58 black-and-white plates and additional black-and-white illustrations. 10-1/8 x 8-1/8 inches. Scarce. Fine. Mala Noche features Magnum member D'Agata's grainy, gritty photographs of the fringes of society, mostly taken in slum areas of New York, Mexico, Guatemala, San Salvador, Havana, Port-au-Prince and Marseille in 1991, 1993, 1995 and 1997. N° de réf. du libraire 112794
Description du livre En vue, 1998. Hardcover. État : Fine. First Edition, First Printing. En vue, Nantes. 1998. hardcover with pictorial boards. First edition, first printing. 103 pages with numerous black and white photographic images throughout. D'Agata's first and arguably best book. BOOK CONDITION: Fine, a tight, clean and highly collectible copy. "The photographs of Antoine D’Agata are like images from a stalker’s notebook, cherished mementos of chance encounters in the nocturnal underworld that the photographer inhabits. These are the autobiographical moments of an artist that intimately embraces his subject. In Mala Noche, D’Agata takes us into the Mexican backstreet drinking dens, where intoxicated and drug-fuelled nights are consumed by violence and prostitution." "There is nothing poetic about these images; they are raw and disturbing and any fragility derived from these scenes is a result of the lives of the subjects themselves. D’Agata’s gritty realism has an air of integrity, an authentic statement, a document made by an artist physically and emotionally immersed in a world of pain and pleasure. This is not a photographer that passes judgment, but one that exists within the brutalized world he seems drawn to. Yet in this darkness, amongst the tormented lives of the marginalized, there is a beauty in D’Agata’s work and a palpable belief in survival, in the potential to escape from alienation and solitude. "'The only type of connection I have to the tradition of reportage is coming up with the most efficient ways to deny, denounce or destroy its prejudice. Beyond humanistic pretence, reportage always conveys twisted or insidious values. One has to remember that no photograph can pretend to show the truth. A picture only shows a given situation under a very specific perspective, consciously or not, openly or not, relevantly or not.'". N° de réf. du libraire 1294