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These informal, insightful photographs, many of which feature major figures on the British and international art scenes, are casually framed, as if by a friend and co-conspirator--which is just what Johnnie Shand Kydd is. As a newly active photographer in the 1990s, Shand Kydd fell into the party and opening scene of the Young British Artists, or YBAs, and participated in that crowd's growth and success by documenting his friends, including Tracey Emin and Damien Hirst. That work was soon collected into the book Spit Fire, and taken to the country's heart: a Shand Kydd snapshot of Hirst making faces with Kate Moss is now in the National Portrait Gallery in London, along with 70 related pieces. This second book, Crash, documents the aforementioned familiar faces and more, and shows the ways in which Shand Kydd has refined his straightforward and confident approach, in both theme and technique, while managing to hold onto his subjects' familiarity and unaffected collaboration. About 200 exposures in strict black-and-white capture art-society luminaries like Gilbert & George, Sam Taylor-Wood, Nan Goldin, Richard Prince, Juergen Teller, Maurizio Cattelan and Tracey Emin.
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- EditorialDamiani
- Año de publicación2006
- ISBN 10 8889431571
- ISBN 13 9788889431573
- EncuadernaciónTapa dura
- Número de páginas240
- EditorSwinton T.
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Johnnie Shand Kydd: Crash
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Descripción Condición: Good. SHIPS FROM USA. Used books have different signs of use and do not include supplemental materials such as CDs, Dvds, Access Codes, charts or any other extra material. All used books might have various degrees of writing, highliting and wear and tear and possibly be an ex-library with the usual stickers and stamps. Dust Jackets are not guaranteed and when still present, they will have various degrees of tear and damage. All images are Stock Photos, not of the actual item. book. Nº de ref. del artículo: 6-8889431571-G
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Crash
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Descripción Hardcover. Condición: Very Good. 1st. Pictorial boards, 238 pages, chiefly illustrations; 29 cm. Foreword in English and in Italian. Near fine. Firm binding, clean inside copy. Lower right corners lightly bumped. OVERSIZE! No priority/international, except by special arrangement. Size: 4to. Collectible. Nº de ref. del artículo: 055623
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Crash / by Johnnie Shand Kydd ; foreword by Tilda Swinton
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Descripción First Edition. Fine copy in the original color-printed, stiff-card wrappers. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Literally as new.; 0 pages; Description: 1 vol. (unpaged) : ill. Summary: These informal, insightful photographs, many of which feature major figures on the British and international art scenes, are casually framed, as if by a friend and co-conspirator--which is just what Johnnie Shand Kydd is. As a newly active photographer in the 1990s, Shand Kydd fell into the party and opening scene of the Young British Artists, or YBAs, and participated in that crowd's growth and success by documenting his friends, including Tracey Emin and Damien Hirst. That work was soon collected into the book Spit Fire, and taken to the country's heart: a Shand Kydd snapshot of Hirst making faces with Kate Moss is now in the National Portrait Gallery in London, along with 70 related pieces. This second book, Crash, documents the aforementioned familiar faces and more, and shows the ways in which Shand Kydd has refined his straightforward and confident approach, in both theme and technique, while managing to hold onto his subjects' familiarity and unaffected collaboration. About 200 exposures in strict black-and-white capture art-society luminaries like Gilbert and George, Sam Taylor-Wood, Nan Goldin, Richard Prince, Juergen Teller, Maurizio Cattelan and Tracey Emin. 2 Kg. Nº de ref. del artículo: 155619
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Johnnie Shand Kydd: Crash
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(2006)
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Descripción Condición: Good. Original pictorial boards, large 4to.; Light wear corners hardcover; still shrink wrapped. Nº de ref. del artículo: 332024-AE3
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Crash / by Johnnie Shand Kydd ; foreword by Tilda Swinton
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(2006)
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Descripción First Edition. Fine copy in the original color-printed, stiff-card wrappers. Particularly and surprisingly well-preserved; tight, bright, clean and especially sharp-cornered. Literally as new.; 0 pages; Description: 1 vol. (unpaged) : ill. Summary: These informal, insightful photographs, many of which feature major figures on the British and international art scenes, are casually framed, as if by a friend and co-conspirator--which is just what Johnnie Shand Kydd is. As a newly active photographer in the 1990s, Shand Kydd fell into the party and opening scene of the Young British Artists, or YBAs, and participated in that crowd's growth and success by documenting his friends, including Tracey Emin and Damien Hirst. That work was soon collected into the book Spit Fire, and taken to the country's heart: a Shand Kydd snapshot of Hirst making faces with Kate Moss is now in the National Portrait Gallery in London, along with 70 related pieces. This second book, Crash, documents the aforementioned familiar faces and more, and shows the ways in which Shand Kydd has refined his straightforward and confident approach, in both theme and technique, while managing to hold onto his subjects' familiarity and unaffected collaboration. About 200 exposures in strict black-and-white capture art-society luminaries like Gilbert and George, Sam Taylor-Wood, Nan Goldin, Richard Prince, Juergen Teller, Maurizio Cattelan and Tracey Emin. 2 Kg. Nº de ref. del artículo: 155619
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Crash. Johnnie Shand Kydd
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(2006)
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Descripción Condición: Buone. inglese Condizioni dell'esterno: Strappata in costa Condizioni dell'interno: Buone. Nº de ref. del artículo: LBCGE_042867
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Crash
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Descripción A cura di Swinton T. Traduzione di Magi S. Testo Italiano e Inglese. Bologna, 2006; ril., pp. 240, ill. b/n, tavv. b/n, cm 25x28. Had I been consulted on the naming of your book, I would have been sorely torn between two titles. 'If You Say So' and 'This is What I've Noticed'. Each describes what I see as two separate but twinned tendancies in your work: 'If You Say So': the portraits. What you describe as the 'self portraits'. Pictures - very often of artists - generally at ease, occasionally commissioned, scrubbed up, or down, according to the level of gregariousness involved, engaged with the camera, quiet if solo, hilarious if in a pack. The public face presented. The quiet ones ring out, somehow, so much are they the exceptions to the kinetic rule of the herd instinct celebrated in pubs, on beaches, in empty troughs in summer streets, gurning for the lens: rather, these portraits are passport pictures for grown up inspection - the complicit decision to be serious for a moment - Damien Hirst in specs, Cerith Wyn Evans in his moustache, Jeff Wall up against the wallpaper, Tracey Emin tired but happy to be snapped by you even this early. 'This Is What I've Noticed': the moments so entirely of your choosing, snatched from the life around you, so commonly moments of joy and abandon: the Wilsons watching football, russian ballerinas showing off, the Currins snogging, only ever the back of Jay Jopling's head, caught in an embrace/ a deal, Jeff Koons signing fans, Lady Bunny in the gents, the neverending rumbunctiousness of holiday atmosphere, when no one can quite be bothered to notice that you are standing there with a camera. Your pictures taken in Naples are in many ways the stone you cut your blade upon - where your observer's eye becomes refined, where you learned to take photographs of people. You include only one here, of insouciant boys facing you down. And then there are observations of work being done: the methodical, somewhat intellectual, studio and gallery scenes. What an era for polished floors! How studious artists' work feels in these images, how cerebral, how clean. So far from the traditional idea of an artist's studio life, exemplified by the icon of the paint spattered Golgotha, making order on the canvas out of chaos on the floor. Given this binary universe of your work, I suppose a unified collection under the title 'Crash' must be the perfect solution. Here's what I see as the point of impact: the slowmotion crunch of intimacy and alienated observation coming together in frame after frame. Lorcan in a blanket under a cloudy Irish hill - a very beautiful and personal image, fullthrottle romantic, yet unmistakably tinged with the self-consciousness of an observer who - while loath to be sentimental, cannot quite resist the lyrical and takes the risk anyhow. Those children dressed up as Mafiosi in Sicily: I can feel your knowingness prickling behind the camera as you bend into it: the frisson of such - potentially - tasteless driving into the curve. Only you, Johnnie, arch self-deprecator, can work quite this particular zing. I see someone looking at things - at people - that are happy to be watched by you while you photograph them - your drink in the other hand peripheral, but none the less present in the frame, your fag wedged between the fingers with which you focus, with which you press the shutter. I see people comfortable with the fact that they are in your sights - very often they preen towards your lens. The particular intimacy of that preen - a self-consciousness between only the closest friends - is a familiar intimacy to us all. Holiday snaps. Pub snaps. Chums arranging themselves. Getting recorded. Nº de ref. del artículo: 1313483
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