Arthur Tress: San Francisco 1964 /anglais - Tapa dura

Arthur Tress: San Francisco 1964 is a monograph by James A. Ganz, which presents for the first time a collection of newly discovered pictures Tress took in 1964 as a young man. --Photography Blog January 2012

The collection has a very distinctive style, with most images focused tightly on a single subject (or sometimes a small group). Each image is carefully composed, and often provides unexpected juxtapositions of people and spaces. --Rachel Cotterill Book Reviews February 2012

Monograph, showing a collection of images the photographer took in 1964, when he first arrived in San Francisco. Idiosyncratic views of the local landscape, as well as formal portraits. --RPS Journal March 2012

Arthur Tress San Francisco 1964 features the work of a little-known photographer, Arthur Tress, who captured more than 900 images of the city when the Republican National Convention and the Beatles' first North American tour hit the city simultaneously. Amid demonstrations and rallies, tress found moments of quiet beauty. --The Sunday Telegraph March 2012

Arthur Tress was just 23 when he arrived in San Francisco in 1964, a year which proved to be a turning point towards social and cultural radicalism. So this newly discovered collection is a fascinating peek into 20th Century history. --The Journal, March 2012

Best known for dreamlike staged imagery of people, places and things, Tress is an accomplished photographer whose career spans more than fifty years. This monograph presents for the first time a collection of pictures the photographer took in 1964 as a young man newly arrived in San Francisco. That summer the city was ground zero for a historic culture clash as the site of both the 28th Republican National Convention and the launch of the Beatles' first North American tour. The resulting photographs reveal a theme familiar to Tress's many fans: the intersection of the absurd and the mundane. Formally posed portraits on the streets of San Francisco as well as candid views of shop windows, signs and other idiosyncrasies of the local landscape capture the vibrant scene in the Bay Area at the dawn of a chaotic era. An introductory essay discusses the historical context of the works while an interview with Tress illuminates the making and rediscovery of these brilliant images.