Southern Rites

LAUB, Gillian (Chappaqua, New York, 1975)

ISBN 10: 8862084536 / ISBN 13: 9788862084536

Editore: Bologna, Damiani,, Bologna, 2015

Riguardo questo articolo

Text and photographs by Gillian Laub . 4to (cm 29,5x23,5). pp. 114. . Perfetto (Mint). . Prima edizione (First Edition). . Inviata dal suo editore, a seguito della lettera di una diciannovenne che denunciava un condizione discriminatoria nella locale Hihg School Gillian Laub, una volta giunta a Mount Vernon, in Virginia, pensava di essere arrivato in un'ideale cittadina americana. Per il ballo della Montgomery County Higt School l'elezione della reginetta avveniva suddividendo le candidate in due categorie: "White Girl" e "Black Girl"; le relative premiazioni erano organizzate secondo criteri che tenevano conto del colore della pelle.A seguito della pubblicazione di quelle fotografie (che tanto clamore fecero a livello nazionale) la città tentò un processo di integrazione. Poi, all'inizio del 2011, la tragedia: un ragazzo afro americano di 22 anni (il primo amore e "prom date" di una studentessa fotografata piu volte da Laub), venne ucciso da un uomo bianco di sessantadue anni. E vecchie ferite si riaprirono. Ma la realtà era più stratificata: Laub stesso l'avrebbe documentata ancora una volta.

Codice articolo 0000000203982

Dati bibliografici

• Titolo: Southern Rites
• Editore: Bologna, Damiani,, Bologna
• Data di pubblicazione: 2015
• ISBN 10: 8862084536
• ISBN 13: 9788862084536
• Rilegatura: hardcover
• Edizione: Prima edizione (First Edition).
• Condizione: As New
• Peso: 750 grammi
• Tipo di libro: Book
• Cataloghi dei venditori:
  • photography

Descrizione articolo

Riassunto

In the spring of 2015, the photographer Joel Meyerowitz sat at the work table in Giorgio Morandis Bologna home, in the exact spot where the painter sat for over 40 years making his quiet, sublime still lifes. Here Meyerowitz looked at, touched, studied and connected with the more than 250 objects that Morandi painted. Using only the warm natural light in the room, he photographed Morandis objects: vases, shells, pigment-filled bottles, silk flowers, tins, cans, funnels, watering cans. In the photographs, each object sits on Morandis table, which still bears the marks the painter drew to set the positions of his subjects. In the background is the same paper that Morandi left on the wall, now brittle and yellow with age. Meyerowitzs portraits of these dusty, aged objects are not only works of art themselves, but they offer insight into the humble subjects that Morandi transformed into his subtle and luminous paintings.

Dalla quarta di copertina

"I sat at Giorgio Morandi's table in exactly the same place that he sat for more than 40 years. On his table the same slant of light glowed for me as had for him. I watched it slowly bloom across his now empty, but tracery filled work surface for two days in the spring of 2015. One by one, more than 260 objects that he had collected came into my hands. Dust covered and ordinary, they presented themselves as part of the mystery that Morandi left behind for us to try and understand. Many objects returned again and again to perform for him and take a fresh position within the chorus of voices arranged on his table. How is it that these quotidian objects contained so much power that they kept Morandi in thrall to them throughout his life?"