chelbin michal (36 resultados)

Soft cover. Condición: Very Good. 164 pages. Includes articles on Alessandro Michele, Carrie Mae Weems, George R. R. Martin, Solange Knowles, Bruce Nauman, Viggo Mortensen, Robert Rauschenberg, Cy Twombly, and more. Moderate wear, VG.

Magazine. First edition. Fine magazine with light signs of handling/shelving. SHIPS THE NEXT BUSINESS DAY, WRAPPED IN PADDING AND CARDBOARD. The June 7, 2009, issue of the Sunday New York Times Magazine, with: President Obama's approach to working with Congress by Matt Bai, photos by Pete Souza; Shakira and early education in Latin America by Scott Malcomson with photographs by Joachim Ladefoged; Emily Bazelon on the decline of self-employment, photo by Michal Chelbin; Roger Lowenstein on democratizing corporate boards with a photograph by Jacqueline Hassink; an interview with Joe Scarborough; and much more. Staple-bound magazine; 50 pages; color and b&w illustrations throughout; 9.5 x 11.5 inches.

Hardcover with dustjacket, 100 pages; good condition; 1-inch hole in dj at lower left edge of front cover; no internal marks. Foreign shipping may be extra.

Magazine. First edition. Fine/As New magazine. SHIPS THE NEXT BUSINESS DAY, WRAPPED IN PADDING AND CARDBOARD. The October 21, 2018, issue of the Sunday New York Times Style Magazine, their annual "The Greats" issue, featuring articles on: George R.R. Martin photographed by Alessandra Sanguinetti; Bruce Nauman photographed by Alec Soth; Viggo Mortensen photographed by Jackie Nickerson; Solance Knowles photographed by Collier Schorr; Carrie Mae Weems photographed by Mickalene Thomas; and Alessandro Michele, portrait and fashion portfolio photographed by Michal Chelbin. Also in this issue: Tom Delavan on a 1951 trip Robert Rauschenberg and Cy Twombly through Italy and Morocco and the effect it had on their art and careers; the sacred valley of the Incas; Poland's Brutalist architecture; Tangiers; space age jewelry; the crafts-women of Oaxaca; the disappearance of frogs with whimsical photographs by Kyoko Hamada; a Frank Lloyd Wright chair considered; Pierre Hardy; and much more. Perfect-bound magazine; 164 pages; color and b&w reproductions throughout; 9.5 x 11.5 inches.

hardcover. Condición: New. *NEW* oversize hardcover in DJ, sealed in plastic. Fresh from a distributor with no price tags and no remainder marks. Priority and international shipping NOT available on this item.

Hardcover. Condición: Like New. Estado de la sobrecubierta: As New. Dj is now protected by a mylar cover. Binding is tight and square.

HRD. Condición: New. New Book. Shipped from UK. Established seller since 2000.

Hardcover. Condición: new. Hardcover. These images were taken in last 5 years (some taken in military boarding schools, some in matadors schools, some in Israel) and explore the connection between "youth" and "uniforms" and dress codes: the place of the young individual in the group that appears to be the same, the heightened traditional roles of boys and girls that comes with the uniforms, the performance that the uniforms force on young people and more. Elements that appear in previous personal works of mine fascinated me into creating this body of work.First and foremost are the contrasts. While living a military life or being a young matador is associated with violence and cruelty, I find many of them to be fragile and weak. While it is considered a manly occupation, I found many of them to be gentle and feminine. I saw it in previous series I created, of wrestlers and prisoners. While we know these people made crimes or acts of violence and cruelty, they are also weak and vulnerable at the same time. This human contrast, the ability to be two so diffident things at the same time, fascinates me. It's a vehicle for me to create images that evokes more questions than answers.I am also attracted to the glamorous or unique different outfits, which are a symbol of the "old world", an element from a different era. While a boy dressed with shiny beautiful outfits, from a distance might almost appear as a super hero, but these outfits also come in contrast to the defenceless gaze of the sitter. While as a group the uniforms make them look identical, when in front of the camera, the personality and uniqueness of each is reveled behind the outfits. The outfits or uniforms they wear are connected to another element which interests me and is the component of "performance". The children almost look like playing dress up, and the school is a big theatre. Under the unity which is heightened by the uniforms, a theatre like drama is unveiled. People are constantly performing, using masks, outfits, locations, which is intensified when children are performing.I think kids grow up very fast these days, taking up adult roles and behaviours without realising it. Especially youth in uniform, is expected to perform a certain role society has created, usually a role that is designed for a more mature age. That was the case when I shot in military boarding schools for teenagers, or in circuses or in a Jewish orthodox community. These young boys and girls are trained to perform a role, a role of preserving an old conservative practice; it is education used as a programmer, infused by an agenda, done in a way both modern yet old-style. They do so with rituals and costumes and this tension between traditional and modern interest me. Shipping may be from multiple locations in the US or from the UK, depending on stock availability.

Hardback. Condición: New. 'These images were taken in last 5 years (some taken in military boarding schools, some in matadors schools, some in Israel) and explore the connection between "youth" and "uniforms" and dress codes: the place of the young individual in the group that appears to be the same, the heightened traditional roles of boys and girls that comes with the uniforms, the performance that the uniforms force on young people and more. Elements that appear in previous personal works of mine fascinated me into creating this body of work. First and foremost are the contrasts. While living a military life or being a young matador is associated with violence and cruelty, I find many of them to be fragile and weak. While it is considered a manly occupation, I found many of them to be gentle and feminine. I saw it in previous series I created, of wrestlers and prisoners. While we know these people made crimes or acts of violence and cruelty, they are also weak and vulnerable at the same time. This human contrast, the ability to be two so diffident things at the same time, fascinates me. It's a vehicle for me to create images that evokes more questions than answers. I am also attracted to the glamorous or unique different outfits, which are a symbol of the "old world", an element from a different era. While a boy dressed with shiny beautiful outfits, from a distance might almost appear as a super hero, but these outfits also come in contrast to the defenceless gaze of the sitter. While as a group the uniforms make them look identical, when in front of the camera, the personality and uniqueness of each is reveled behind the outfits. The outfits or uniforms they wear are connected to another element which interests me and is the component of "performance". The children almost look like playing dress up, and the school is a big theatre. Under the unity which is heightened by the uniforms, a theatre like drama is unveiled. People are constantly performing, using masks, outfits, locations, which is intensified when children are performing. I think kids grow up very fast these days, taking up adult roles and behaviours without realising it. Especially youth in uniform, is expected to perform a certain role society has created, usually a role that is designed for a more mature age. That was the case when I shot in military boarding schools for teenagers, or in circuses or in a Jewish orthodox community. These young boys and girls are trained to perform a role, a role of preserving an old conservative practice; it is education used as a programmer, infused by an agenda, done in a way both modern yet old-style. They do so with rituals and costumes and this tension between traditional and modern interest me.'.

Hardcover. Condición: New.

Condición: New.

Hardcover with dustjacket; 96 pages; new condition; still sealed in shrinkwrap; clean and crisp. Foreign and shipping may be extra.

Hardcover. Condición: New.

Condición: New. 2021. Hardcover. . . . . .

Hardcover. First edition. AS NEW clothbound hardcover in dust jacket in the publisher's shrink wrap. "'The Black Eye' continues Michal Chelbin's exploration of the world of athletes and performers from Eastern Europe, Israel, and England. The athletes and wrestlers in this series are studies in contrasts: youth and manhood, strength and weakness, tenderness and rigidity, odd and ordinary, splendor and roughness. Chelbin searches for a certain expression in which they have almost calmed their breath but not yet fully regained their self-awareness. It is a moment when they have lifted their mask and surrendered to the camera." Photographs by Michal Chelbin. 96 pages; 50 color plates; 12 x 13 inches. Books ship the next business day, wrapped in padding, in a box. Due to size and weight, international and expedited shipping will be more than quoted.

Hardcover. square, red cloth boards w/ gilt printing. pictorial & blue dustjacket w/ white printing. 99 pgs w/ color plates. Includes an inscribed and signed promotional card from the artist. "Israeli photographer Michal Chelbin (born 1974) has spent several years traveling through Ukraine and Spain to explore the connection and tension between youth and uniforms. Internationally acclaimed for her striking portraits of teenagers throughout Eastern Europe, Chelbin recognizes adolescence as a liminal space between childhood and adulthood, a stage of one's life that can be difficult to represent in all its complexities and contradictions. Chelbin's teenage subjects embody that contrast to the fullest extent: their youth is apparent despite the startlingly adult contexts in which they are placed, as one can see in her previous work taken in juvenile prisons or traveling acrobat troupes. In How to Dance the Waltz, Chelbin looks at puberty and gender as a performance that involves as much attention to costumery as any circus act. The subjects in this collection are dressed in military garb, traditional maid uniforms, extravagant debutante gowns and outfits of matadors, all slightly ill-fitting and strange on their slight frames. In each photograph, the teens gaze directly into Chelbin's camera, seemingly impassive, their world-weary seriousness contradicted by the unmistakable youthfulness of their faces. This imagery hints at the ways societal expectations of gender, especially in regard to clothing and uniform, can inform a teenager's cognitive development and overall identity. Chelbin's remarkable portraits simultaneously represent their subjects' vulnerability and self-possession."--Amazon. VG+ (small bump & creasing to top of back spine gutter. dustjacket has light rubbing to corners, scuffs, scratches).

Condición: As New. Unread book in perfect condition.

Condición: New. 2021. Hardcover. . . . . . Books ship from the US and Ireland.

Hardcover. Condición: Brand New. 99 pages. 12.25x11.25x0.75 inches. In Stock.

Condición: NEW.

Hardcover. Condición: Fine. First Edition, First Printing. Quarto. 9.75 x 11.25 in. 108 pp. Profusely illustrated with color reproductions of photographs. Some staining to interior of spine along edge of both front and rear paste-down endpapers, likely glue, otherwise fine in original pictorial paper-covered boards.

Hardcover. Condición: new. Hardcover. These images were taken in last 5 years (some taken in military boarding schools, some in matadors schools, some in Israel) and explore the connection between "youth" and "uniforms" and dress codes: the place of the young individual in the group that appears to be the same, the heightened traditional roles of boys and girls that comes with the uniforms, the performance that the uniforms force on young people and more. Elements that appear in previous personal works of mine fascinated me into creating this body of work.First and foremost are the contrasts. While living a military life or being a young matador is associated with violence and cruelty, I find many of them to be fragile and weak. While it is considered a manly occupation, I found many of them to be gentle and feminine. I saw it in previous series I created, of wrestlers and prisoners. While we know these people made crimes or acts of violence and cruelty, they are also weak and vulnerable at the same time. This human contrast, the ability to be two so diffident things at the same time, fascinates me. It's a vehicle for me to create images that evokes more questions than answers.I am also attracted to the glamorous or unique different outfits, which are a symbol of the "old world", an element from a different era. While a boy dressed with shiny beautiful outfits, from a distance might almost appear as a super hero, but these outfits also come in contrast to the defenceless gaze of the sitter. While as a group the uniforms make them look identical, when in front of the camera, the personality and uniqueness of each is reveled behind the outfits. The outfits or uniforms they wear are connected to another element which interests me and is the component of "performance". The children almost look like playing dress up, and the school is a big theatre. Under the unity which is heightened by the uniforms, a theatre like drama is unveiled. People are constantly performing, using masks, outfits, locations, which is intensified when children are performing.I think kids grow up very fast these days, taking up adult roles and behaviours without realising it. Especially youth in uniform, is expected to perform a certain role society has created, usually a role that is designed for a more mature age. That was the case when I shot in military boarding schools for teenagers, or in circuses or in a Jewish orthodox community. These young boys and girls are trained to perform a role, a role of preserving an old conservative practice; it is education used as a programmer, infused by an agenda, done in a way both modern yet old-style. They do so with rituals and costumes and this tension between traditional and modern interest me. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.

Gebunden. Condición: New. &Uumlber den AutorrnrnMichal Chelbin s work has been widely shown in numerous solo and group exhibitions worldwide. Her work can be found in many private and public collections, such as: The Metropolitan, LACMA, Getty Museum LA, Jewish Museum N.

Hardcover. Condición: Fine. Estado de la sobrecubierta: Fine. First Edition, First Printing. Quarto. 12 x 12.5 in. Unpaginated. Profusely illustrated with 50 color reproductions of photographs. Fine in original cloth boards and fine pictorial dust jacket. Signed by Chelbin on the colophon with laid-in card of authentication from publisher. Oversized edition, additional postage may apply if beyond media rate.

Hardcover. Condición: Near Fine. 1st Edition. First edition; first printing. Publisher's beige paper-covered boards with photographic inlay to upper board and titles to front and spine.112pp. A fine copy. Essay by Leah Ollman. *** A collection of photos of travelling artists, working at circuses, fairs etc; all taken 'off duty'. The photographer's first book.

Hardback. Condición: New. 'These images were taken in last 5 years (some taken in military boarding schools, some in matadors schools, some in Israel) and explore the connection between "youth" and "uniforms" and dress codes: the place of the young individual in the group that appears to be the same, the heightened traditional roles of boys and girls that comes with the uniforms, the performance that the uniforms force on young people and more. Elements that appear in previous personal works of mine fascinated me into creating this body of work. First and foremost are the contrasts. While living a military life or being a young matador is associated with violence and cruelty, I find many of them to be fragile and weak. While it is considered a manly occupation, I found many of them to be gentle and feminine. I saw it in previous series I created, of wrestlers and prisoners. While we know these people made crimes or acts of violence and cruelty, they are also weak and vulnerable at the same time. This human contrast, the ability to be two so diffident things at the same time, fascinates me. It's a vehicle for me to create images that evokes more questions than answers. I am also attracted to the glamorous or unique different outfits, which are a symbol of the "old world", an element from a different era. While a boy dressed with shiny beautiful outfits, from a distance might almost appear as a super hero, but these outfits also come in contrast to the defenceless gaze of the sitter. While as a group the uniforms make them look identical, when in front of the camera, the personality and uniqueness of each is reveled behind the outfits. The outfits or uniforms they wear are connected to another element which interests me and is the component of "performance". The children almost look like playing dress up, and the school is a big theatre. Under the unity which is heightened by the uniforms, a theatre like drama is unveiled. People are constantly performing, using masks, outfits, locations, which is intensified when children are performing. I think kids grow up very fast these days, taking up adult roles and behaviours without realising it. Especially youth in uniform, is expected to perform a certain role society has created, usually a role that is designed for a more mature age. That was the case when I shot in military boarding schools for teenagers, or in circuses or in a Jewish orthodox community. These young boys and girls are trained to perform a role, a role of preserving an old conservative practice; it is education used as a programmer, infused by an agenda, done in a way both modern yet old-style. They do so with rituals and costumes and this tension between traditional and modern interest me.'.

Buch. Condición: Neu. Neuware - 'These images were taken in last 5 years (some taken in military boarding schools, some in matadors schools, some in Israel) and explore the connection between 'youth' and 'uniforms' and dress codes: the place of the young individual in the group that appears to be the same, the heightened traditional roles of boys and girls that comes with the uniforms, the performance that the uniforms force on young people and more. Elements that appear in previous personal works of mine fascinated me into creating this body of work. First and foremost are the contrasts. While living a military life or being a young matador is associated with violence and cruelty, I find many of them to be fragile and weak. While it is considered a manly occupation, I found many of them to be gentle and feminine. I saw it in previous series I created, of wrestlers and prisoners. While we know these people made crimes or acts of violence and cruelty, they are also weak and vulnerable at the same time. This human contrast, the ability to be two so diffident things at the same time, fascinates me. It's a vehicle for me to create images that evokes more questions than answers. I am also attracted to the glamorous or unique different outfits, which are a symbol of the 'old world', an element from a different era. While a boy dressed with shiny beautiful outfits, from a distance might almost appear as a super hero, but these outfits also come in contrast to the defenceless gaze of the sitter. While as a group the uniforms make them look identical, when in front of the camera, the personality and uniqueness of each is reveled behind the outfits. The outfits or uniforms they wear are connected to another element which interests me and is the component of 'performance'. The children almost look like playing dress up, and the school is a big theatre. Under the unity which is heightened by the uniforms, a theatre like drama is unveiled. People are constantly performing, using masks, outfits, locations, which is intensified when children are performing. I think kids grow up very fast these days, taking up adult roles and behaviours without realising it. Especially youth in uniform, is expected to perform a certain role society has created, usually a role that is designed for a more mature age. That was the case when I shot in military boarding schools for teenagers, or in circuses or in a Jewish orthodox community. These young boys and girls are trained to perform a role, a role of preserving an old conservative practice; it is education used as a programmer, infused by an agenda, done in a way both modern yet old-style. They do so with rituals and costumes and this tension between traditional and modern interest me.'.

Buch. Condición: Neu. Michal Chelbin: How to Dance the Waltz | Michal Chelbin | Buch | Gebunden | Englisch | 2021 | Damiani Ltd | EAN 9788862087261 | Verantwortliche Person für die EU: Libri GmbH, Europaallee 1, 36244 Bad Hersfeld, gpsr[at]libri[dot]de | Anbieter: preigu.

Hardcover. Condición: Very good. Beautiful clean copy signed by the photographer on the title page.

ill. OPappband / Hardcover. 1. Aufl./ ed. Mit einem Essay von Leah Ollman. / signiertes Ex. / signed by the Photographer. (Sehr gut erhalten! / in very good condition, as new) Sprache: Englisch Gewicht in Gramm: 1200.