Throughout his career, Daido Moriyama has sought new ways of recasting his images through the use of different printing techniques, installation, or by re-editing and re-formatting them. For this volume, Moriyama has returned to his contact sheets from the past five decades, selecting both classic and previously unpublished images. Included here are reproductions of original contact sheets; sequences of new contact sheets made from recombined negative strips that juxtapose images from the 1950s with those from the past ten years; and selections of individual images, both familiar and newly discovered. Together, they offer a comprehensive assembly of Moriyama's oeuvre, tracing recurring motifs and proposing startling new interpretations of some of his most iconic photographs. In opening up this private process of reexamination to a wider public, Moriyama continues to challenge the viewer, his own practice and the larger mechanisms by which photography makes meaning.
Daido Moriyama (born 1938) has been publishing and exhibiting his photography since the late 1960s, with a bibliography of more than 300 monographs to his name. A major retrospective, Daido Moriyama: Stray Dog, originated in 2000 at the San Francisco Museum of Modern Art, and subsequently toured internationally to the Metropolitan Museum of Art and Japan Society in New York, Fotomuseum Winterthur in Switzerland and numerous other venues. He is a recipient of the Cultural Award of the Deutsche Gesellschaft für Photographie and the 2012 Infinity Award for Lifetime Achievement. Exhibitions include a major retrospective, On the Road, presented at the Osaka National Museum of Art from June to October 2011, and William Klein/Daido Moriyama at Tate Modern from October 2012 to January 2013.
在書店翻瞭一下,原來是底片閤輯
评分這條評論和照片內容本身沒有特彆大關係。想要評論一下這樣的形式。一開始如果細細辨認每一張照片的內容,一行一行掃過去看的話能夠清楚感受到攝影者的凝視,這種凝視通過非常個人的角度、被破壞的構圖、以及和被攝物之間形成的權力關係來彰顯。但是越往後翻,有的時候照片(尤其因為以contact print的形式呈現)是爆炸式的溢齣,而且有些時候是重復性的影像。黑和白、被睏在照片上的圖像因此流動且混攪在一起,凝視者的身份因此消失。這本書越往後看越讓我重新開始想鈍點和刺點的問題瞭。攝影的確是當仁不讓的後現代主義的寵兒,因為相比各種藝術形式,攝影師對觀者的觀看形式、想要傳達的東西的控製實在是太薄弱瞭。該如何從這種薄弱的控製中衍生aura真是一件非常有挑戰性的事情。
评分非常好!!!!!
评分許熙正說“這是他買過森山大道最好的一本書…大概可以想像他在拍照時候的‘狀態’。”不能同意更多。翻開書的起初,訝異,這都能齣成書?!越翻看越覺得,好的不得瞭。
评分這也可以-。-
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