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LARRY FINK. (L.Dahlberg), “Phaidon“, HB

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ISBN
9780714840222
28,80 лв.
EachBorn in 1941, Larry Fink was a disaffected teenager in 1950s America...
Повече информация
Страници 55
Език английски
Година 2005
Издателство PHAIDON
ID на книга 22414022
ISBN 9780714840222
Категории Изкуство

EachBorn in 1941, Larry Fink was a disaffected teenager in 1950s America on the cusp of radical social change. At art school his career as a photographer began to flourish. He spent the 1960s watching and learning from the prominent photographers of the time: Henri Cartier-Bresson, Robert Frank, W. Eugene Smith, and in many ways, his photographic aesthetic and rebellious spirit encapsulate the dramatic loss of innocence that the US underwent after the assassination of John F. Kennedy in 1963. Through his mother, he met Lisette Model, who would become his photographic mentor. Fink’s work draws heavily on the European tradition of photography of Brassa and Kertesz and of the painters Georg Grosz and Otto Dix. Like these artists, Fink saught inspiration in what he considered a grotesque and sensuous theatre of life. throughout all of his work is its central subject: the human body in action. Like Weegee before him, Fink was an interactive photographer, a ready witness to everyday drama. Always keen to infuse his photographs with social commentary, Fink would pursue socially and politically contentious imagery for the rest of his life, such as in the ‘black ties’ series and the Martin’s Creek series. He currently teaches photography at Bard College in New York where he has been teaching since 1994. This monograph on Fink provides a fresh, elegantly produced introduction to one of the leading figures in photography today of the 1,052 projects from the comprehensive edition included a single image per building and a short text to describe it. The project entry gives the name of each building and its architect, the location, address and contact details, and potential visiting hours. There is also a system to indicate which projects are open to the public. In addition to the forty two regional maps from the comprehensive edition, there are 27 new city maps which locate the buildings in more built up areas. The book provides a unique opportunity to visit 1,052 works of contemporary architecture in all parts of the world, from the Arctic Circle to African deserts. The Phaidon Atlas of Contemporary World Architecture, Travel Edition is an essential companion on the travels of all those interested in gaining a first hand understanding of contemporary architecture around The Phaidon Atlas of Contemporary World Architecture: Travel Edition, presents all of the best works of architecture completed in the last five years in an ultra-convenient mini format, perfect for the holiday or business traveller. Each of the 1,052 projects from the comprehensive edition included a single image per building and a short text to describe it. The project entry gives the name of each building and its architect, the location, address and contact details, and potential visiting hours. There is also a system to indicate which projects are open to the public. In addition to the forty two regional maps from the comprehensive edition, there are 27 new city maps which locate the buildings in more built up areas. The book provides a unique opportunity to visit 1,052 works of contemporary architecture in all parts of the world, from the Arctic Circle to African deserts. The Phaidon Atlas of Contemporary World Architecture, Travel Edition is an essential companion on the travels of all those interested in gaining a first hand understanding of contemporary architecture around Born in 1941, Larry Fink was a disaffected teenager in 1950s America on the cusp of radical social change. At art school his career as a photographer began to flourish. He spent the 1960s watching and learning from the prominent photographers of the time: Henri Cartier-Bresson, Robert Frank, W. Eugene Smith, and in many ways, his photographic aesthetic and rebellious spirit encapsulate the dramatic loss of innocence that the US underwent after the assassination of John F. Kennedy in 1963. Through his mother, he met Lisette Model, who would become his photographic mentor. Fink’s work draws heavily on the European tradition of photography of Brassa and Kertesz and of the painters Georg Grosz and Otto Dix. Like these artists, Fink saught inspiration in what he considered a grotesque and sensuous theatre of life. Consistent throughout all of his work is its central subject: the human body in action. Like Weegee before him, Fink was an interactive photographer, a ready witness to everyday drama. Always keen to infuse his photographs with social commentary, Fink would pursue socially and politically contentious imagery for the rest of his life, such as in the ‘black ties’ series and the Martin’s Creek series. He currently teaches photography at Bard College in New York where he has been teaching since 1994. This monograph on Fink provides a fresh, elegantly produced introduction to one of the leading figures in photography today.
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