"It might be said that the subject of Callahan's photographs is photography, and that his world exists essentially as a formal problem." John Szarkowski Harry Callahan was one of the most respected and influential American photographers of the modern era. He was a master of traditional genres such as portraiture, landscape, architecture and nature studies, but also experimented with new ways of using the medium. One of Callahan's favorite themes was the repeating pattern, whether in multiple reeds reflected on a lake's surface or the rows of windows on a building's facade. While lesser known than some of his other work, Callahan's collages demonstrate an intense interest in and profound understanding of the process of photographic seeing. Callahan knew that every photograph is to some extent a fragment taken from a larger reality. His collages are rigorous yet playful exploration of the relation of a part to its whole. The images have a unique dynamism, like that of mosaics, because they continuously shift the viewer's attention back and forth between the individual fragments and the overall pattern. The images exemplify Callahan's unassuming virtuosity. Harry Callahan (1912-1999), born in Detroit, began his career as an amateur photographer. In 1938 he joined Chrysler's Camera Club and two years later became a member of Detroit's Photo Guild. After attending a lecture and workshop by Ansel Adams in 1941, and a meeting with Alfred Stieglitz in 1942, Callahan decided to devote his energies to photography. In 1946 he followed an invitation by László Moholy-Nagy to teach at Chicago's Institute of Design. He left in 1961 to chair the photography department at the Rhode Island School of Design. Callahan held that position until 1973 and retired from teaching altogether four years later. Harry Callahan was the recipient of numerous distinctions, and he was chosen to represent the United States at the 1978 Venice Biennial, the first photographer to be so honoured. Since his first one-person show in 1947, Callahan's work has been the subject of over 60 solo and group exhibitions. Co-published with Pace/MacGill Gallery, New York.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
"It might be said that the subject of Callahan's photographs is photography, and that his world exists essentially as a formal problem." John Szarkowski Harry Callahan was one of the most respected and influential American photographers of the modern era. He was a master of traditional genres such as portraiture, landscape, architecture and nature studies, but also experimented with new ways of using the medium. One of Callahan's favorite themes was the repeating pattern, whether in multiple reeds reflected on a lake's surface or the rows of windows on a building's facade. While lesser known than some of his other work, Callahan's collages demonstrate an intense interest in and profound understanding of the process of photographic seeing. Callahan knew that every photograph is to some extent a fragment taken from a larger reality. His collages are rigorous yet playful exploration of the relation of a part to its whole. The images have a unique dynamism, like that of mosaics, because they continuously shift the viewer's attention back and forth between the individual fragments and the overall pattern. The images exemplify Callahan's unassuming virtuosity. Harry Callahan (1912-1999), born in Detroit, began his career as an amateur photographer. In 1938 he joined Chrysler's Camera Club and two years later became a member of Detroit's Photo Guild. After attending a lecture and workshop by Ansel Adams in 1941, and a meeting with Alfred Stieglitz in 1942, Callahan decided to devote his energies to photography. In 1946 he followed an invitation by László Moholy-Nagy to teach at Chicago's Institute of Design. He left in 1961 to chair the photography department at the Rhode Island School of Design. Callahan held that position until 1973 and retired from teaching altogether four years later. Harry Callahan was the recipient of numerous distinctions, and he was chosen to represent the United States at the 1978 Venice Biennial, the first photographer to be so honoured. Since his first one-person show in 1947, Callahan's work has been the subject of over 60 solo and group exhibitions. Co-published with Pace/MacGill Gallery, New York.
Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
EUR 5,17 expédition vers Etats-Unis
Destinations, frais et délaisEUR 3,88 expédition vers Etats-Unis
Destinations, frais et délaisVendeur : Midtown Scholar Bookstore, Harrisburg, PA, Etats-Unis
Hardcover. Etat : Good. Good - Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name - GOOD Oversized. N° de réf. du vendeur M3869301406Z3
Quantité disponible : 3 disponible(s)
Vendeur : Powell's Bookstores Chicago, ABAA, Chicago, IL, Etats-Unis
Etat : Used - Like New. 2012. Hardcover. Tall quarto, profusely illustrated. In publisher's shrinkwrap. Fine. N° de réf. du vendeur BR25205
Quantité disponible : 2 disponible(s)
Vendeur : Powell's Bookstores Chicago, ABAA, Chicago, IL, Etats-Unis
Etat : New. 2012. Hardcover. Dust Jacket is Fine. In publisher's shrinkwrap. New. N° de réf. du vendeur P016826
Quantité disponible : 18 disponible(s)
Vendeur : Jeff Hirsch Books, ABAA, Wadsworth, IL, Etats-Unis
First edition and first printing. Hardcover. Features text by Julian Cox. From the publisher: "His collages are rigorous yet playful explorations of a visual world created in his studio. The subject is either faces cut from magazines or rectangles cut from black or white paper. Callahan then photographed the collages pinned to his studio wall on his 8x10-inch view camera, one leading to the next to create this never before published series." A fine copy in cloth boards. No dust jacket as issued. As new and still in the publisher's shrinkwrap. N° de réf. du vendeur 207699
Quantité disponible : 1 disponible(s)
Vendeur : Revaluation Books, Exeter, Royaume-Uni
Paperback. Etat : Brand New. 01 edition. 32 pages. French language. 12.95x11.26x0.31 inches. In Stock. N° de réf. du vendeur 3869301406
Quantité disponible : 1 disponible(s)
Vendeur : Much Ado Books, Alfriston, SUSSE, Royaume-Uni
Hardback. Etat : Very Good. Black and White photographs. Very Good (+) (issued without dust jacket). N° de réf. du vendeur 33109
Quantité disponible : 1 disponible(s)
Vendeur : Ludilivre Photobooks, FONTAINEBLEAU, France
Etat : Neuf. N° de réf. du vendeur H8-UW07-P53M
Quantité disponible : 1 disponible(s)
Vendeur : Studio Bibliografico Marini, ROMA, RM, Italie
hardcover. Etat : Perfetto (Mint). Prima edizione (First Edition). Un testo di Julian Cox. 7 collages in bianco e nero di Harry Callahan . Cm 32,4x28. pp. 32. . Perfetto (Mint). . Prima edizione (First Edition). . Harry Callahan è stato uno dei fotografi americani più influenti dell'era moderna. Era un maestro di generi tradizionali come il ritratto, il paesaggio, l'architettura e gli studi naturalistici, ma sperimentava anche nuovi modi di usare il mezzo. Uno dei temi preferiti di Callahan era la ripetizione dei motivi, che si trattasse di canne multiple riflesse sulla superficie di un lago o delle file di finestre sulla facciata di un edificio. Anche se meno conosciuti di altri suoi lavori, i collage di Callahan dimostrano un intenso interesse e una profonda comprensione del processo di visione fotografica. I suoi collage sono esplorazioni rigorose ma giocose di un mondo visivo creato nel suo studio. Il soggetto è costituito da volti ritagliati da riviste o da rettangoli tagliati da carta bianca o nera. Callahan fotografa i collage appesi al muro del suo studio con il suo banco ottico 8x10 pollici, uno dopo l'altro, per creare questa serie mai pubblicata prima. Book. N° de réf. du vendeur bc_233692
Quantité disponible : 1 disponible(s)