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Sto caricando le informazioni... Harry Callahandi Harry Callahan, Harry M. Callahan
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One of the foremost American photographers of the twentieth century, Harry Callahan explored the expressive possibilities of both color and black-and-white photography from the outset of his career in 1938. Following his retirement from teaching at the Rhode Island School of Design in 1977, however, he decided to dedicate his practice exclusively to the color medium and pursue travel to foreign locales. The twenty-three photographs in this publication, taken in Morocco in 1981, are the product of Callahan's shift to a strictly chromatic palette and demonstrate his continued interest in the visual intrigue of the everyday urban landscape and the passersby who occupy it. Depicting his familiar subjects of architectural facades, random patterns of street activity, and isolated figures lost in thought, the images transcend Morocco's exoticism by exploring the formal and pictorial potential of the country's environment. The photographs that excite me are photographs that say something in a new manner; not for the sake of being different, but ones that are different because the individual is different and the individual expresses himself. Harry Callahan Non sono state trovate descrizioni di biblioteche |
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Google Books — Sto caricando le informazioni... GeneriSistema Decimale Melvil (DDC)779.092The arts Photography, computer art, cinematography, videography Photographic images Photographs by origin of artist Collections by individual photographersClassificazione LCVotoMedia:
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The influence of Ansel Adams’ zone system is apparent in many photographs. However, the images are too small for readers to see the details in the tails of the zone. A number of the photos are dark, gloomy scenes with few points of interest (Eleanor and Barbara, Chicago, 1954; Bob Fine, ca. 1952; Chicago, 1958). Others are multiple exposures (e.g., Eleanor, Chicago, 1953; Providence, 1967) or abstracts (e.g., Eleanor, 1947; Ivy Tentacles on Glass, Chicago, 1952; Weed Against Sky, Detroit, 1948). Most of the images in this collection require a larger format and the careful lighting of a gallery that permits a close study of subtle details.
This disappointing book is hardly the work of a master. ( )