Ok, I'll start:I own a battered copy of Observations, but had not lokoed at it in a couple of years. So, coming to it with fresh eyes, I think the first thing about the book, which we mostly take for granted, with our contemporary sensibility, is its...
Ok, I'll start:I own a battered copy of Observations, but had not lokoed at it in a couple of years. So, coming to it with fresh eyes, I think the first thing about the book, which we mostly take for granted, with our contemporary sensibility, is its very magazine-like architecture. Viewing Observations from 2011, it’s hard to see how provocative it must have been to try to synthesize pop culture and high culture in a formal publication like a book, and in the way that Avedon and Alexey Brodovitch attempted here. Unlike a whole, unified, complete book, we have the joining of a number of not obviously related chapters, like magazine features: The Actors, The Singers, The Swans, The Couples, and so on. And then we have an even greater stylistic and thematic jump to Italy popped into the middle of this book.I don’t find the approach completely satisfying or successful. By comparison, I much prefer later Avedon books where he pursued a consistent formal approach, including the American West and Richard Avedon Portraits. These are the books where Avedon most clearly and successfully gives us what I want from him: the sense of confrontation that defined his white background portraiture.Another important formal element that we see in Observations is the development of Avedon’s strategies of montage: his use of two images on facing pages to make implied claims of similarity or difference between the people pictured. Again, it seems obvious to our 21st-century media-saturated eyes that we should do this as photographic designers, but look for comparison at the techniques of sequencing and montage in The Americans.Avedon’s pictures speak to each other and create higher orders of metaphorical meaning in a way distinct from Frank’s sequencing. Consider, for example, page 146, where Avedon joins photographs of Robert Oppenheimer and Martin Darcy in a similar stance, and that helps to inspire Capote’s analysis of appearance and virtue.
Soumis par Dimon (invité) le lun. 04 févr. 2013 00:57:12
oYZcyCPJrQvBcMCTUKC
I lived in Western Germany for 5 years. In France drive from Paris to Dijon, France then to Strasbourg, France then your like 5 minutes away from Germany go to Triberg, Germany and then the rest is up to you!! It's a relaly fun trip soak it all in!
Soumis par Angi (invité) le lun. 05 nov. 2012 07:07:17
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| afficher les commentaires completsafficher les commentaires résumésOk, I'll start:I own a battered copy of Observations, but had not lokoed at it in a couple of years. So, coming to it with fresh eyes, I think the first thing about the book, which we mostly take for granted, with our contemporary sensibility, is its...
Ok, I'll start:I own a battered copy of Observations, but had not lokoed at it in a couple of years. So, coming to it with fresh eyes, I think the first thing about the book, which we mostly take for granted, with our contemporary sensibility, is its very magazine-like architecture. Viewing Observations from 2011, it’s hard to see how provocative it must have been to try to synthesize pop culture and high culture in a formal publication like a book, and in the way that Avedon and Alexey Brodovitch attempted here. Unlike a whole, unified, complete book, we have the joining of a number of not obviously related chapters, like magazine features: The Actors, The Singers, The Swans, The Couples, and so on. And then we have an even greater stylistic and thematic jump to Italy popped into the middle of this book.I don’t find the approach completely satisfying or successful. By comparison, I much prefer later Avedon books where he pursued a consistent formal approach, including the American West and Richard Avedon Portraits. These are the books where Avedon most clearly and successfully gives us what I want from him: the sense of confrontation that defined his white background portraiture.Another important formal element that we see in Observations is the development of Avedon’s strategies of montage: his use of two images on facing pages to make implied claims of similarity or difference between the people pictured. Again, it seems obvious to our 21st-century media-saturated eyes that we should do this as photographic designers, but look for comparison at the techniques of sequencing and montage in The Americans.Avedon’s pictures speak to each other and create higher orders of metaphorical meaning in a way distinct from Frank’s sequencing. Consider, for example, page 146, where Avedon joins photographs of Robert Oppenheimer and Martin Darcy in a similar stance, and that helps to inspire Capote’s analysis of appearance and virtue.
Soumis par Dimon (invité) le lun. 04 févr. 2013 00:57:12
oYZcyCPJrQvBcMCTUKC
I lived in Western Germany for 5 years. In France drive from Paris to Dijon, France then to Strasbourg, France then your like 5 minutes away from Germany go to Triberg, Germany and then the rest is up to you!! It's a relaly fun trip soak it all in!
Soumis par Angi (invité) le lun. 05 nov. 2012 07:07:17