- Gebundene Ausgabe: 64 Seiten
- Verlag: Harry N. Abrams (17. September 2002)
- Sprache: Englisch
- ISBN-10: 0810935406
- ISBN-13: 978-0810935402
- Größe und/oder Gewicht: 26,6 x 21,2 x 2,2 cm
- Amazon Bestseller-Rang: Nr. 223.301 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
Kurzbeschreibung
A slipcased accordion folio containing 50 tritone photos to accompany an exhibition at the Metropolitan Museum of Art in New York.
Synopsis
Richard Avedon is one of the most influential photographers of the second half of the 20th century. His portrait work comprises an authoritative record of the era and, as a staff photographer of "Harper's Bazaar" and later for "Vogue", Avedon redefined what a fashion photograph is. With uncompromising directness, Avedon portrayed his subjects against a white background, with no extraneous details to distract from tthe essential specificity of face, gaze, dress and gesture. His work includes mesmerizing images of Truman Capote, Willem de Kooning, Samuel Beckett, Francis Bacon and Marily Monroe, as well as of the uncelebrated Americans of his project "In the American West". Spanning Richard Avedon's entire career, starting from the late 1940s, this volume offers a selection of his photographic portraits. It is published to accompany a major exhibition at the Metropolitan Museum of Art, New York.
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16 Rezensionen
30 von 32 Kunden fanden die folgende Rezension hilfreich
The Book as Art
9. November 2002
Format:Gebundene Ausgabe
RICHARD AVEDON PORTRAITS is a stunning work, not only because of the usual expected glory of his photographs, but because of the genuinely artistic concept behind this catalogue for a Museum Exhibition. Slipcased, the book opens as an accordian with single and diptych/triptych photographs viewable by placing the unscrolled book on a tabletop or bookshelf. Not that there are any new moments here: this is a collection of some of Avedon's famous faces and bodies, curated for a specific purpose. But to view Andy Warhol together with his co-creators of his photos and films standing on one page clothed and on another nude intensifies the manner in which Avedon's manner of capturing the star's works so well. We are treated to a full face of Francis Bacon and in the next panel a partial view of his entire body. All manner of odd characters inhabit these deliciously synchronous pages. The back side of this tableaux discusses Avedon, his influences and appropriations from painting and other art forms, and does what it sets out to do - make the pieces of the tableaux relevant in the history of the time in which they were photographed. This is a clever and rewarding book and the book itself becomes art.
13 von 13 Kunden fanden die folgende Rezension hilfreich
Beyond art book, beyond photography
31. Dezember 2005
Format:Gebundene Ausgabe
It is not really a book, but an art object: accordion folded and neatly ensconced in a box, its heavy cardboard structure makes it a durable thing, one that transcends the notion of a mere "book." It is an object of intrinsic beauty and the mere holding of it in one's hands conveys the good taste, fine quality, and the superb craftmanship that were blended to create PORTRAITS.
One side of the fold contains text -with some pictures- and the other the portfolio of portraits. Maria Hambourg and Mia Fineman collaborate in the essay "Avedon's Endgame," which presents, analyzes and brings into focus the extraordinary talent behind the portraits; and Richard Avedon gives us a touching essay called "Borrowed Dogs," in which he addresses some of his unquiet talents. The other side is one's private gallery of 27 pictures (including the covers) to be savored at home, each image a meticulous print. In all it is an extraordinary performance by those involved, and a jewel to possess.
Avedon has pushed the borders of his art far beyond picture taking: a master psychologist, his portraits are potent statements about the soul and the fears and the anger and the dilapidation and the triumph and the humanity of his subjects. His pictures are so intense and revealing that the viewer cannot remain neutral. The diptych of Clarence Lippard, a drifter, makes one see more than we have any right to ask for: because if we must view the horror of a wasted life on one panel we must also accept the defiant triumphalism and humor that the second panel conveys. Waste no pity on Mr. Lippard, he asks no such thing from you.
I shall often return to this jewel for solace; and for a jolt about the meaning of being alive and a human being.
One side of the fold contains text -with some pictures- and the other the portfolio of portraits. Maria Hambourg and Mia Fineman collaborate in the essay "Avedon's Endgame," which presents, analyzes and brings into focus the extraordinary talent behind the portraits; and Richard Avedon gives us a touching essay called "Borrowed Dogs," in which he addresses some of his unquiet talents. The other side is one's private gallery of 27 pictures (including the covers) to be savored at home, each image a meticulous print. In all it is an extraordinary performance by those involved, and a jewel to possess.
Avedon has pushed the borders of his art far beyond picture taking: a master psychologist, his portraits are potent statements about the soul and the fears and the anger and the dilapidation and the triumph and the humanity of his subjects. His pictures are so intense and revealing that the viewer cannot remain neutral. The diptych of Clarence Lippard, a drifter, makes one see more than we have any right to ask for: because if we must view the horror of a wasted life on one panel we must also accept the defiant triumphalism and humor that the second panel conveys. Waste no pity on Mr. Lippard, he asks no such thing from you.
I shall often return to this jewel for solace; and for a jolt about the meaning of being alive and a human being.
4 von 4 Kunden fanden die folgende Rezension hilfreich
'Portraits' was a beautiful composition of Avedon's work
18. August 2005
Format:Gebundene Ausgabe
Not only was I excited about the low price offered by amazon.com for this book, I couldn't believe the wealth of information it withheld. The book itself is innovating, working as an accordian-style setup with text on one side and full-size, beautiful portraits on the other. The written portions spoke of Avedon in his early years, what his inspirations were, and how the affected his work later on. As a young photographer, this was valuable information for me.
Avedon speaks closely of his work, and his persistance of breaking through fake smiles and charlatans, seeking out the truth in people, from the famous to the overlooked. My favorite photograph is of a drifter named Clarence Lippard, a man Avedon randomly came across and photographed. This drive, this exploration that possessed Avedon was a beautiful thing, and this showcase of his work greatly portrayes it.
Avedon speaks closely of his work, and his persistance of breaking through fake smiles and charlatans, seeking out the truth in people, from the famous to the overlooked. My favorite photograph is of a drifter named Clarence Lippard, a man Avedon randomly came across and photographed. This drive, this exploration that possessed Avedon was a beautiful thing, and this showcase of his work greatly portrayes it.
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