New York, NY
D.A.P./ Distributed Art Publishers, Inc.
2003
First edition in English
344 p.
Laminated black cloth-like covered boards, with title stamped in white on front cover and spine, with photographically illustrated laminated endpapers and dust jacket
with 330 pages of full-bleed four-color and b/w reproductions
Buch
Text engl. - Photographs and captions by William Klein. Afterword by Anthony Lane and William Klein. Also includes a filmography, and a list of books and portfolios. - From the publisher: "William Klein always dreamed of living in Paris, like Henry Miller, Gertrude Stein, and other like-minded artists and writers. In 1948, stationed by the United States Army in Paris, he stayed--and fled his family and America to become a painter. He quickly found another family and recognition for his talent. Today, one is tempted, like critic Anthony Lane, to say that he is "the American in Paris." PARIS + KLEIN gathers together hundreds of photographs shot by Klein from the time he first picked up a camera in the 1960s until he put it down, momentarily, to put together this book. In his signature color and black-and-white compositions, jostled to the brim with more information than a single camera lens was ever expected to take in, we find: men in the street, celebrities, demonstrations, fashion, the police, politics, races, the métro, soccer, death. . .The whole life of a capital seen through the lively, acidic, melancholic, humorous, ironical, and moving eyes of William Klein." "[Paris + Klein] Arranged across double pages, it is a uncomplimentary a portrait of the French as Donald Rumsfeld could ever dream of. As usual, Mr. Klein rubs our faces in urban grime and dares us to be offended. He photographs the cynosure of fashion.. and fine dining as a tawdry circus, a place where Haussmann's boulevards have become parade grounds for raucous freaks, and the aging haute bourgeoisie still wear hats but eat with plastic forks off paper plates." (The New York Times). - "It takes a Klein to widen our eyes; if he remains unabashed about his game plan to get in your face, that is because the faces of Parisians are a more reliable guide to the place. . . than any map of the Métro." (Anthony Lane, in: The New Yorker).