Phahl john (2 resultados)

Condición: Gut. Ca. 30 Illustrationen (farbig) als Leporello; mit beiliegendem Textblatt; Qu.-12 cm. Leinenband mit Leinenschuber. Sehr gutes Ex. - Englisch. - Text / Beiblatt von Deborah Tall. - Moss Glen Falls; Green Mountain Power Corporation, Winooski River Vermont; Ice Falls Erie Canal; Niagara Falls; Great Falls of the Passaic; Fall Creek Falls / u.v.a. - They are pure verb - "shaking and quaking, pouring and roaring, flowing and going," as poet Robert Southey rhymed it. Waterfalls, after all, exist only in motion. The dry Rock of drought years is only a craggy cliff face - nothing much to write home about. Waterfalls in season, though, are nature's most reliable show. They are the river's current compressed to a moment, held up for view as if on a stage. The quieter waters of our lives pale by comparison. We take journeys with waterfalls as destination. We carry around their images and names in the travelogue of the brain: Niagara, Kaaterskill, Yosemite, Yellowstone, sites of some of the greatest American landscape painting and photography, our natural icons. Niagara Falls, a tourist magnet for hundreds of years already, was even consecrated by the Catholic Church in 1861 as a "pilgrim shrine." The great waterfalls of the nation remain, if not shrines, secular sanctuaries of the wild, emblems of the sublime view of nature that so shaped the early American imagination - oversized wilderness, landscape as revelation. Tradition aside, we do seem to have a particular attraction to vertical water versus horizontal. Maybe we think of Hercalitus's dictum that we can't step into the same river twice and realize that, standing before a waterfall, we can't see the same river twice. It arrives and vanishes in an instant, is endlessly in flux. We may try to follow a single drop of water from precipice to base, to measure its velocity, its drop and outward journey, but it disappears into the on-rushing whole. The waterfall broadcasts a perpetual carpe diem - over the edge into oblivion in the twinkling of an eye. Or, more accurately, over the edge into the dullness beyond - the suddenly still, sulky river that forgets it was ever anything as spectacu-lar as a waterfall. But if waterfalls are defined by their movement, their music and palpable presence in the air, the tension between their ongoing vanishing and very ongoingness, what hope is there of reproducing their impact in the still form of the photograph? Can the waterfall's performance survive still life? Not only do artists face this inherent obstacle in approaching the waterfall as subject, creative impulses. Our path to the waterfall is lined with markers pointing us toward the "appropriate" response. We earn the backpack of the sublime and the picturesque with us, reams of maudlin poems, the whole American mythology of Niagara and the Wild West. Can we ever hope to see waterfalls for what they are - an accident of nature, gravity, a moment of liquid energy:1 We almost cannot help but hear them "roar"; we watch their waters "rush" over the precipice as if it were an act of will. One must look far and wide for descriptive language free of personification. Whether as honeymoon mecca, spiritual emblem (the Almighty's handiwork), or symbolic slice of American wilderness, the waterfall has attracted its share of excess and kitsch. See it on any cheap calendar or dime store postcard rack. In ads for soap, it is an emblem of "cleanliness is next to godliness." As symbol of transcendence, it is the setting for any number of advertisements hawking uplift. . (D.T.) ISBN 9783923922994 Sprache: Englisch Gewicht in Gramm: 270.…

Hardcover. Condición: Good. Estado de la sobrecubierta: Good. First Printing [Stated]. The format is approximately 10 inches by 13.5 inches. 143, [1] pages. Illustrations (most in color). Gardens open to the public. Index. Dust jacket has a tear on the front and an autographed copy sticker. Signed by the Author on the title page. Introduction by Rebecca Solnit. John Pfahl (February 17, 1939 April 15, 2020) was an American photographer. Pfahl was born in New York City and grew up in Wanaque, New Jersey. He was known for his landscape photography such as his 1974 "Altered Landscapes" series. He received a BFA from Syracuse University's College of Visual and Performing Arts and his MA from Syracuse University's S. I. Newhouse School of Public Communications. He taught at the Rochester Institute of Technology, Rochester, New York, from 1968 to 1983. Later he was professor at the University of New Mexico, Albuquerque. In 2012 he taught at the University at Buffalo, The State University of New York. Pfahl died from COVID-19 on April 15, 2020, in Buffalo, New York during the COVID-19 pandemic in the United States. Rebecca Solnit (born 1961) is an American writer and activist. She has written on a variety of subjects, including feminism, the environment, politics, place, and art. Solnit is the author of seventeen books, including River of Shadows, which won the 2004 National Book Critics Circle Award in Criticism; A Paradise Built in Hell, from 2009, which charts community responses to disaster; The Faraway Nearby, a wide-ranging memoir published in 2013; and Men Explain Things to Me, a collection of essays on feminism and women's writing first published in 2014. American photographer John Pfahl has an ongoing fascination with man's complex interaction with nature. This is a photographic survey of gardening at its boldest, most bizarre and most exuberant. Among the plants featured are vast flowers, terrifying sculptural cacti, outlandish topiary and extraordinary bonsai: these gardens were planned and planted by true eccentrics, with surreal creativity and great humor. Subjects include huge bright orange Japanese maples, Jeff Koons' monumental "Puppy", a giant pumpkin, other-worldly cacti and "The Largest Fig Tree in the United States". Each photograph is accompanied by a detailed caption with information about the quirky gardens, the plants and their strange cultivation. Rebecca Solnit's introduction sets the plants in their historic and cultural context. John Phahl (Jacket photograph) (ilustrador).…