Imagen del editor

A to B

MacLean, John (Signed)

ISBN 10: 0955867355 / ISBN 13: 9780955867354
Editorial: Hunter James, 0
Nuevos Condición: New Soft Cover
Librería: Phototitles Limited (Osgodby, Reino Unido)

Librería en AbeBooks desde: 28 de octubre de 2005

Valoración librería Valoración 5 estrellas

Cantidad: 2

Disponible en otras librerías

Ver todos  los ejemplares de este libro
Comprar nuevo
Precio recomendado:
Precio: EUR 26,30 Convertir moneda
Gastos de envío: EUR 22,13 De Reino Unido a Estados Unidos de America Destinos, gastos y plazos de envío
Añadir al carrito

Métodos de pago
aceptados por la librería

Visa Mastercard American Express Carte Bleue

Cheque PayPal

Descripción

Signed and Numbered by the Photographer Forty-two photographs taken during 37 walks between the sites of Newgate prison and the Tyburn Tree, between 23 August 2009 and 3 February 2011. In late 2009, a TV documentary about Stanley Kubrick caught my attention. The programme explained how Kubrick frequently shot more than 30 takes of one scene in order to ?wear down? the actors - to force them to work through the obvious approaches and find something new. I began to wonder if I could employ the basis of this process in my own work. Looking at the 4ft wide map of London on my studio wall, I decided to choose two points (A and B), one east and one west, and take photographs as I walked repeatedly from one to the other. I would record each journey with GPS, and the line between the points (representing my directional choices) would be transcribed onto a map for each day ? an apposite metaphor for my drifting thought process, perhaps. Initially, I had planned to choose the points A and B arbitrarily by sticking a pin into the map. However, I had for some time been aware of the Tyburn Tablet, a memorial to the site of London?s ancient gallows near Marble Arch. The tablet, circular and set into the ground, resembles a full stop. And indeed it was a full stop for the thousands of condemned prisoners who were transported three miles from Newgate Prison in the east, to their demise on this site - a process that ended in 1783. Although I had no intention of producing a literal body of images concerning this historical event, I decided to reemploy these macabre points of arrival and departure, hoping their significance might add a subtle layer of influence to the images I produced. In keeping with all of my projects, I photographed for two months, then ordered the images chronologically, and took an overview. Immediately, the progressive influence of two photographs I had made for an earlier project (City: Book Two) was clearly evident (cross-pollination between projects is something I relish). Perhaps these two images, Bloom and Nix, represented ?unfinished business?, or what Charlotte Cotton calls ?itchy scratchy? photographs (the transitional pieces, the precursors of a new phase or project). The ?itchiness? of these earlier photographs had arisen, I think, from the fact that they represented two embryonic strands of a new investigation. Firstly, they were attempts at exploring the resonance of an image that looks from darkness into light. This is something I had been aware of in Eugene Smith?s photograph, A Walk to Paradise Garden (1946), and that was reinforced when I attended Anthony McCall?s Solid Lightworks at the Serpentine Gallery in 2008. Bloom and Nix were the first photographs where I decided to use light to silhouette an object rather than as a means of illuminating it (in this respect, I feel they are related to photograms: the image is formed by light that passes through an object to reach a light-sensitive medium, and everything else falls away to black). Secondly, Bloom and Nix are abstract images. Abstraction had become intriguing because it addressed a question that had been on my mind: what makes a photograph a photograph? Specifically, if the information in an image is reduced to the point where the object-matter is unrecognisable, when is a photograph no longer a window to look through but an object in itself? Why, however, did these two seams of inquiry, which had been lying undeveloped in a previous body of work, resurface in the making A to B? Certainly the journey I retraced ? from life towards death ? echoed with these earlier abstract images of darkness and light, and so offered a framework for exploration. As Wolfgang Tillmans said in his lecture at the Royal Academy this year: ?If something taps on your consciousness three times, it is usually worth pursuing.? John MacLean March 2011. John MacLean. A to B. First edition 2011. Hunter & James 16.3 x 24cm, 88 pp, 4-colour, perfect bound, limited edition ISBN 9780. N° de ref. de la librería 3093

Hacer una pregunta a la librería

Detalles bibliográficos

Título: A to B

Editorial: Hunter James, 0

Encuadernación: Soft Cover

Condición del libro:New

Ejemplar firmado: Signed by Author(s)

Edición: 1st Edition

Acerca de

Sinopsis:

John MacLean's 7th self-published book. Forty-two photographs taken during 37 walks between the sites of Newgate prison and the Tyburn Tree, between 23 August 2009 and 3 February 2011. In late 2009, a TV documentary about Stanley Kubrick caught my attention. The programme explained how Kubrick frequently shot more than 30 takes of one scene in order to wear down the actors - to force them to work through the obvious approaches and find something new. I began to wonder if I could employ the basis of this process in my own work. Looking at the 4ft wide map of London on my studio wall, I decided to choose two points (A and B), one east and one west, and take photographs as I walked repeatedly from one to the other. I would record each journey with GPS, and the line between the points (representing my directional choices) would be transcribed onto a map for each day an apposite metaphor for my drifting thought process, perhaps. Initially, I had planned to choose the points A and B arbitrarily by sticking a pin into the map. However, I had for some time been aware of the Tyburn Tablet, a memorial to the site of London s ancient gallows near Marble Arch. The tablet, circular and set into the ground, resembles a full stop. And indeed it was a full stop for the thousands of condemned prisoners who were transported three miles from Newgate Prison in the east, to their demise on this site - a process that ended in 1783. Although I had no intention of producing a literal body of images concerning this historical event, I decided to reemploy these macabre points of arrival and departure, hoping their significance might add a subtle layer of influence to the images I produced. In keeping with all of my projects, I photographed for two months, then ordered the images chronologically, and took an overview. Immediately, the progressive influence of two photographs I had made for an earlier project (City: Book Two) was clearly evident (cross-pollination between projects is something I relish). Perhaps these two images, Bloom and Nix, represented unfinished business , or what Charlotte Cotton calls itchy scratchy photographs (the transitional pieces, the precursors of a new phase or project). The itchiness of these earlier photographs had arisen, I think, from the fact that they represented two embryonic strands of a new investigation. Firstly, they were attempts at exploring the resonance of an image that looks from darkness into light. This is something I had been aware of in Eugene Smith s photograph, A Walk to Paradise Garden (1946), and that was reinforced when I attended Anthony McCall s Solid Lightworks at the Serpentine Gallery in 2008. Bloom and Nix were the first photographs where I decided to use light to silhouette an object rather than as a means of illuminating it (in this respect, I feel they are related to photograms: the image is formed by light that passes through an object to reach a light-sensitive medium, and everything else falls away to black). Secondly, Bloom and Nix are abstract images. Abstraction had become intriguing because it addressed a question that had been on my mind: what makes a photograph a photograph? Specifically, if the information in an image is reduced to the point where the object-matter is unrecognisable, when is a photograph no longer a window to look through but an object in itself? Why, however, did these two seams of inquiry, which had been lying undeveloped in a previous body of work, resurface in the making A to B? Certainly the journey I retraced from life towards death echoed with these earlier abstract images of darkness and light, and so offered a framework for exploration. As Wolfgang Tillmans said in his lecture at the Royal Academy this year: If something taps on your consciousness three times, it is usually worth pursuing.

Biografía del autor:

Born in Buckinghamshire in 1969, John spent part of his childhood in Canada and the United States. He began using a camera at the age of 14 when he discovered the book American Images , featuring the work of Garry Winogrand, Robert Frank and Lewis Baltz. After studying mathematics, physics and geology he went on to graduate in photography at the University of Derby. He worked at The Royal College of Art for four years. John has been a freelance photographer since 1998, using commercial commissions to support an independent, fine-art practice. His photographs have been widely published in books and periodicals and he has self-published six books held in the National Art Archive at The Victoria and Albert Museum and private collections.

"Sobre este título" puede pertenecer a otra edición de este libro.

Descripción de la librería

Phototitles.com specialises in rare, signed, new and out of print photographic books. Vat reg. GB863403923 UK limited company number 6032724 Mailing Address. Phototitles, Westwold, Main Street, Osgodby, Market Rasen, Lincolnshire UK LN8 3TA Contact 07802 887319. Website www,phototitles.com

Ver la página web de la librería

Condiciones de venta:

Stock is limited and moves very quickly, please check availability by email.

I only send books in proper cardboard book packaging, non-shrinkwrapped books
are wrapped in brown paper for protection of the cover and then all books are
wrapped in bubblewrap for addional protection.
Unlike some dealers I do not send books in secondhand envolopes and dirty
newspaper.

UK shipping is by Parcel force 24 or Parcel force 48, I do not use Royal Mail as
books can go missing or get damaged. This is a flat fe...

Más información
Condiciones de envío:

Orders usually ship within 2 business days.

UK Customers - Shipping by next day couriers (Monday - Friday) at a flat-rate charge of £9.99 for up to 10Kg.

Overseas Customers - The shipping charge displayed is the ABE default for a 1Kg book, If your book is heavier than 1Kg packed then extra charges will apply, you will be notified if this is the case and you will need to agree the extra charges.

Overseas shipping includes a fee for insurance up to £500 (US$950 approx) and must be signed for and sent by Airmail printed paper with either the Airsure or international signed for service. We do not use surface mail or unsigned for services as to often things go missing.

The shipping charge includes a packaging fee towards the cost of packaging brown paper, bubblewrap, and cardboard book wrapper or box. We dont not use newspaper, ole envolopes of jiffy bags.

Please note that abebooks now extended the 13.5% comission and serviceprocessing fee onto the shiping charge as well.

This is just a small selection of our stock please visit my website at www.phototitles.com

Todos los libros de esta librería