Michal Chelbin How to Dance the Waltz, 9788862087261
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Michal Chelbin’s work has been widely shown in numerous solo and group exhibitions worldwide. Her work can be found in many private and public collections, such as: The Metropolitan, LACMA, Getty Museum LA, Jewish Museum New York, Cleveland Museum of Art and Tel Aviv Museum. Michal is a regular contributor to the world’s leading magazines, such as: The New York Times magazine, The New Yorker, BusinessWeek, GQ, The Guardian, The Sunday Times, The Financial Times, Le Monde, and others.
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, 100 pages; good condition; 1-inch hole in dj at lower left edge of front cover; no internal marks. Foreign shipping may be extra. N° de réf. du vendeur MiChDa35
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Vendeur : Midtown Scholar Bookstore, Harrisburg, PA, Etats-Unis
hardcover. Etat : Good. HARDCOVER 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 M8862087268Z3
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Vendeur : PBShop.store UK, Fairford, GLOS, Royaume-Uni
HRD. Etat : New. New Book. Shipped from UK. Established seller since 2000. N° de réf. du vendeur HU-9788862087261
Quantité disponible : 15 disponible(s)
Vendeur : Rarewaves.com USA, London, LONDO, Royaume-Uni
Hardback. Etat : New. 'These images were taken in last 5 years (some taken in military boarding schools, some in matadors schools, some in Israel) and explore the connection between "youth" and "uniforms" and dress codes: the place of the young individual in the group that appears to be the same, the heightened traditional roles of boys and girls that comes with the uniforms, the performance that the uniforms force on young people and more. Elements that appear in previous personal works of mine fascinated me into creating this body of work. First and foremost are the contrasts. While living a military life or being a young matador is associated with violence and cruelty, I find many of them to be fragile and weak. While it is considered a manly occupation, I found many of them to be gentle and feminine. I saw it in previous series I created, of wrestlers and prisoners. While we know these people made crimes or acts of violence and cruelty, they are also weak and vulnerable at the same time. This human contrast, the ability to be two so diffident things at the same time, fascinates me. It's a vehicle for me to create images that evokes more questions than answers. I am also attracted to the glamorous or unique different outfits, which are a symbol of the "old world", an element from a different era. While a boy dressed with shiny beautiful outfits, from a distance might almost appear as a super hero, but these outfits also come in contrast to the defenceless gaze of the sitter. While as a group the uniforms make them look identical, when in front of the camera, the personality and uniqueness of each is reveled behind the outfits. The outfits or uniforms they wear are connected to another element which interests me and is the component of "performance". The children almost look like playing dress up, and the school is a big theatre. Under the unity which is heightened by the uniforms, a theatre like drama is unveiled. People are constantly performing, using masks, outfits, locations, which is intensified when children are performing. I think kids grow up very fast these days, taking up adult roles and behaviours without realising it. Especially youth in uniform, is expected to perform a certain role society has created, usually a role that is designed for a more mature age. That was the case when I shot in military boarding schools for teenagers, or in circuses or in a Jewish orthodox community. These young boys and girls are trained to perform a role, a role of preserving an old conservative practice; it is education used as a programmer, infused by an agenda, done in a way both modern yet old-style. They do so with rituals and costumes and this tension between traditional and modern interest me.'. N° de réf. du vendeur LU-9788862087261
Quantité disponible : Plus de 20 disponibles
Vendeur : Majestic Books, Hounslow, Royaume-Uni
Etat : New. N° de réf. du vendeur 392070160
Quantité disponible : 3 disponible(s)
Vendeur : Grand Eagle Retail, Bensenville, IL, Etats-Unis
Hardcover. Etat : new. Hardcover. These images were taken in last 5 years (some taken in military boarding schools, some in matadors schools, some in Israel) and explore the connection between "youth" and "uniforms" and dress codes: the place of the young individual in the group that appears to be the same, the heightened traditional roles of boys and girls that comes with the uniforms, the performance that the uniforms force on young people and more. Elements that appear in previous personal works of mine fascinated me into creating this body of work.First and foremost are the contrasts. While living a military life or being a young matador is associated with violence and cruelty, I find many of them to be fragile and weak. While it is considered a manly occupation, I found many of them to be gentle and feminine. I saw it in previous series I created, of wrestlers and prisoners. While we know these people made crimes or acts of violence and cruelty, they are also weak and vulnerable at the same time. This human contrast, the ability to be two so diffident things at the same time, fascinates me. It's a vehicle for me to create images that evokes more questions than answers.I am also attracted to the glamorous or unique different outfits, which are a symbol of the "old world", an element from a different era. While a boy dressed with shiny beautiful outfits, from a distance might almost appear as a super hero, but these outfits also come in contrast to the defenceless gaze of the sitter. While as a group the uniforms make them look identical, when in front of the camera, the personality and uniqueness of each is reveled behind the outfits. The outfits or uniforms they wear are connected to another element which interests me and is the component of "performance". The children almost look like playing dress up, and the school is a big theatre. Under the unity which is heightened by the uniforms, a theatre like drama is unveiled. People are constantly performing, using masks, outfits, locations, which is intensified when children are performing.I think kids grow up very fast these days, taking up adult roles and behaviours without realising it. Especially youth in uniform, is expected to perform a certain role society has created, usually a role that is designed for a more mature age. That was the case when I shot in military boarding schools for teenagers, or in circuses or in a Jewish orthodox community. These young boys and girls are trained to perform a role, a role of preserving an old conservative practice; it is education used as a programmer, infused by an agenda, done in a way both modern yet old-style. They do so with rituals and costumes and this tension between traditional and modern interest me. Shipping may be from multiple locations in the US or from the UK, depending on stock availability. N° de réf. du vendeur 9788862087261
Quantité disponible : 1 disponible(s)
Vendeur : Mullen Books, ABAA, Marietta, PA, Etats-Unis
Hardcover. square, red cloth boards w/ gilt printing. pictorial & blue dustjacket w/ white printing. 99 pgs w/ color plates. Includes an inscribed and signed promotional card from the artist. "Israeli photographer Michal Chelbin (born 1974) has spent several years traveling through Ukraine and Spain to explore the connection and tension between youth and uniforms. Internationally acclaimed for her striking portraits of teenagers throughout Eastern Europe, Chelbin recognizes adolescence as a liminal space between childhood and adulthood, a stage of one's life that can be difficult to represent in all its complexities and contradictions. Chelbin's teenage subjects embody that contrast to the fullest extent: their youth is apparent despite the startlingly adult contexts in which they are placed, as one can see in her previous work taken in juvenile prisons or traveling acrobat troupes. In How to Dance the Waltz, Chelbin looks at puberty and gender as a performance that involves as much attention to costumery as any circus act. The subjects in this collection are dressed in military garb, traditional maid uniforms, extravagant debutante gowns and outfits of matadors, all slightly ill-fitting and strange on their slight frames. In each photograph, the teens gaze directly into Chelbin's camera, seemingly impassive, their world-weary seriousness contradicted by the unmistakable youthfulness of their faces. This imagery hints at the ways societal expectations of gender, especially in regard to clothing and uniform, can inform a teenager's cognitive development and overall identity. Chelbin's remarkable portraits simultaneously represent their subjects' vulnerability and self-possession."--Amazon. VG+ (small bump & creasing to top of back spine gutter. dustjacket has light rubbing to corners, scuffs, scratches). N° de réf. du vendeur 191063
Quantité disponible : 1 disponible(s)
Vendeur : Kennys Bookshop and Art Galleries Ltd., Galway, GY, Irlande
Etat : New. 2021. Hardcover. . . . . . N° de réf. du vendeur V9788862087261
Quantité disponible : Plus de 20 disponibles
Vendeur : Biblios, Frankfurt am main, HESSE, Allemagne
Etat : New. N° de réf. du vendeur 18388578245
Quantité disponible : 3 disponible(s)
Vendeur : Revaluation Books, Exeter, Royaume-Uni
Hardcover. Etat : Brand New. 99 pages. 12.25x11.25x0.75 inches. In Stock. N° de réf. du vendeur __8862087268
Quantité disponible : 1 disponible(s)