Describing himself as 'a professional photographer by trade and an amateur photographer by vocation', the ever-popular Elliott Erwitt (b.1928) prizes his personal snaps above all his work. When otherwise idle in New York or with spare time on his hands during his frequent travels, Erwitt indulges himself at museums and art exhibitions, contemplating works of art, watching people and taking pictures. In Museum Watching, Erwitt presents his visual observations on the museum together for the first time in book form, including photographs from the late 1950s through to 1999. In this affectionate, wry and personal album, illuminated by his own text, Elliott entertains us by means of his conversation with art, making visual puns, tweaking a few noses and occasionally passing more serious comment. As museum-visiting establishes itself as far more popular than attending sports events, and with the big art show becoming serious business, Erwitt's gentle humour provides not only the perfect antidote, but a subtly perceptive insight into the relationship between people and art, and people and their own selves.
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When he's not on assignment, the indefatigable Elliott Erwitt often takes his camera and heads for a museum, where, he says, finding interesting and amusing subjects to photograph is "like shooting fish in a barrel." He proves his point with this wide-ranging collection of images from the last 45 years that look at lookers from Cambodia and Japan to New York and Paris. There are countless characteristically mischievous moments here: a middle-aged couple pores over the Clouet painting of two topless women--one the king's mistress preparing for her bath and the other her sister, tweaking her nipple. In a snapshot on the facing page, a soldier fondles the bronze breast of a goddess in an Italian piazza. In the Prado gallery, where the clothed and the nude Majas of Goya are installed side by side, the former is studied by a lone female and the latter obscured by a crowd of male admirers. There are multiple shots of the marmoreal buttocks of countless shapely sculptures flanked by passersby whose glances speak volumes about the hallowed halls of high art.
But there are always other, more somber moments in any Erwitt collection. Here, such pictures include a shot of the bleak railway tracks that led inexorably through the gates of Auschwitz and the bins there of thousands of pairs of eyeglasses that were never worn again. In Cambodia, Erwitt finds quiet beauty in the jungle-bound ruins of the temple of Angkor Wat, but he also visits the present, in the form of the Tuol Sleng Genocide Museum in Phnom Penh, where photographs of thousands of slaughtered Cambodian citizens pack the walls, from floor to ceiling.
As always, Erwitt's ultimate subject is the human condition, captured with gentleness, intelligence, and compassion, this time in a context that narrows his scope a bit, but not much. --Peggy MoormanFrom the Publisher:
An extended photo essay of Elliot Erwitt's witty observations of people at the museum, shot worldwide from the 1950s to 1999, with a 3000 word essay by the photographer. The photographs include visual puns and wry observations of human values and human nature.
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Descrizione libro Phaidon Press, 1999. Hardcover. Condizione libro: New. book. Codice libro della libreria 0714838942
Descrizione libro Phaidon Press, 1999. Hardcover. Condizione libro: New. Codice libro della libreria DADAX0714838942
Descrizione libro Phaidon Press, 1999. Hardcover. Condizione libro: New. Codice libro della libreria P110714838942
Descrizione libro Phaidon Inc Ltd, 1999. Hardcover. Condizione libro: Brand New. 1st edition. 160 pages. 9.75x8.25x0.75 inches. In Stock. Codice libro della libreria zk0714838942
Descrizione libro Phaidon Press. Hardcover. Condizione libro: New. 0714838942 New Condition. Codice libro della libreria NEW6.0361534
Descrizione libro Condizione libro: Brand New. Book Condition: Brand New. Codice libro della libreria 97807148389461.0