- Tapa dura: 116 páginas
- Editor: Steidl; Edición: 01 (3 de mayo de 2011)
- Idioma: Inglés
- ISBN-10: 3869302569
- ISBN-13: 978-3869302560
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº68.317 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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Chris Killip: Seacoal (Inglés) Tapa dura – 3 may 2011
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Reseña del editor
“When I first saw the beach at Lynemouth in January 1976, I recognized the industry above it but nothing else I was seeing. The beach beneath me was full of activity with horses and carts backed into the sea. Men were standing in the sea next to the carts, using small wire nets attached to poles to fish out the coal from the water beneath them. The place confounded time; here the Middle Ages and the twentieth century intertwined.” Chris Killip began photographing the people of Lynemouth seacoal beach in the north east of England in 1982, after nearly seven years of failed efforts to obtain their consent. During 1983 to 1984 he lived in a caravan on the seacoal camp, and documented the life, work and the struggle to survive on the beach, using his unflinching style of objective documentation. Fifty, of the one hundred and twenty four images published here, were first shown in 1984 at the Side Gallery in Newcastle and others were an important element of Killip’s ground-breaking and legendary book In Flagrante, published four years later. Chris Killip, born on the Isle of Man in 1946, is a Professor of Visual and Environmental Studies at Harvard University where he has taught since 1991. His works are held in the permanent collections of, among others: Museum of Modern Art, New York; George Eastman House; Fine Arts Museum of San Francisco; Museum Folkwang, Essen; the Stedelijk Museum, Amsterdam; National Gallery of Australia, Canberra; and the Victoria and Albert Museum, London. His books include In Flagrante (1988), Pirelli Work (2007), and Here Comes Everybody (2009).
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Killip documented this with incredible access and intimacy, while we still never feel he crosses the line to exploitation of the subjects. This is a diffictult balancing feat which must have taken enormous amounts of work and involvement.
The book is absolutely beautifully printed.
Photojournalism is(was) usually done using a small camera with grainy, blurry black and white. This approach is usually chosen to make sure one captures the "decisive moment". Kilip on the other hand, used a large, unwieldy, slow large format camera. This yields an incredible quality, but usually also means fairly static, posed images. Not so with Killip. He handles the format with the same immediacy as "regular" equipment. I would have liked to see this book in a slightly larger format to reflect this better, but then again there should be something left for exhibition visitors. Unfortunately I have never seen a Killip print first hand but would definitely love to.
One of my favorite books and a well deserved five stars from me.