PhotoLit - data bank on photographic literature

. In englischer Sprache.

Text engl.

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Originally suggested by Susan Meiselas and Richard Rogers, Dislocations was designed and produced at Harvard University's Film Study Center. Production of the edition was by Robert Gardner, Director, Harvard University's Film Study Center. Published as a limited edition of 40 copies, hand-numbered and signed in black ink on the colophon page by Alex Webb; hb., fine black linen-covered boards, with tipped-in title plate on the front debossed cover, enclosed in a deluxe custom-designed matching black linen-covered four-sided hinged case, with debossed title on top cover, no dust jacket as issued. All four sides open out, and are closed by Velcro attached to the inner front cover, which folds over the top and attaches to the right side of the case. Laser prints on Hammersmith Permanent paper glued into a blind debossment on Somerset Velvet paper, and individually hand-titled in black ink by Webb below the mount. The ch tipped-in plate is approximately 5 x 7 3/4 inches. All pages are attached in a Leporello (accordion-fold) 72 total pages in length, with continuous end-papers attached to the front and rear boards. Includes 3 additional tipped-in color laser print plates: page 1) a reproduced dictionary definition of 'Dislocation;' 2) a brief quote from Don DeLillo's novel 'White Noise,' which reads "The flow is constant," Alfonse said. "Words, pictures, numbers, facts, graphics, specks, waves, particles, motes. Only a catastrophe gets our attention;" and 3) colophon page. The book is 8 x 10 x 2 1/2 inches deep and the four-sided hinged case is 8 1/2 x 10 3/4 x 3 inches deep. The covers and leaves were assembled by hand, and the photographs were printed using state-of-the-art digital imaging technologies generously donated by The Film Study Center's New Media Partners, specifically Power Computing Corporation (PowerTower Pro 225 workstations for image processing) and Canon USA Inc. (CLC800 color laser copier and ColorPass color print server for final imaging). Although these technologies were key to producing this book, the photographs themselves have not been altered beyond color correction required to match the characteristics of the printer. Scans of some of the images available upon request. - Alex Webb's photographs initially command the viewer's attention with stark, brilliant colors and graphic form. Many of his photographs combine seemingly disparate 'images' into one frame. A deep black shadow has as strong a presence as a partially sunlit expressionless face, in a disjointed street scene. Upon closer examination, the figures, environments, situations, colors and forms combine to create an emotionally charged photograph. What makes this uniquely conceived and produced edition stand out as exceptional, and a seemingly natural extension from Webb's earlier publications, is the book's elegant design and use of color laser technology for the plates. The flat surface and brilliant color reproduction play off each other to create a strange 'tug-of-war' with the viewer's response to the images. As in the potential effect of video, these color laser images have a concurrent psychological immediacy and distance which complicates the images and their meaning in the most fascinating ways“. (Antiq. Borelli). - From the publisher: "This book of ,dislocations’ is an experiment in an alternative kind of book-making. It is a technology-mediated artist's book that inhabits a place somewhere between the unique book-as-art/art-as-book and a traditional press-bound publications focused on in the photographs“.

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Text engl. - Includes gallery’s price list.

Also published as hc. - With numerous contributions not listed in PhotoLit.

Text dt. - Zeitschriften-Themenheft.

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19.95 $.

Text engl. - Other editions: First edition 1976. - William Eggleston's Guide was the first one-man show of color photographs ever presented at The Museum of Modern Art, New York, and the Museum s first publication of color photography. The reception was divided and passionate. The book and show unabashedly forced the art world to deal with color photography, a medium scarcely taken seriously at the time, and with the vernacular content of a body of photographs that could have been but definitely weren t some average American s Instamatic pictures from the family album. These photographs heralded a new mastery of the use of color as an integral element of photographic composition. Bound in a textured cover inset with a photograph of a tricycle and stamped with yearbook-style gold lettering, the Guide contained 48 images edited down from 375 shot between 1969 and 1971 and displayed a deceptively casual, actually super-refined look at the surrounding world. Here are people, landscapes, and odd little moments in and around Eggleston s hometown of Memphis--an anonymous woman in a loudly patterned dress and cat s eye glasses sitting, left leg slightly raised, on an equally loud outdoor sofa; a coal-fired barbecue shooting up flames, framed by a shiny silver tricycle, the curves of a gleaming black car fender, and someone s torso; a tiny, gray-haired lady in a faded, flowered housecoat, standing expectant, and dwarfed in the huge dark doorway of a mint-green room whose only visible furniture is a shaded lamp on an end table. For this edition of William Eggleston s Guide, The Museum of Modern Art has made new color separations from the original 35 mm slides, producing a facsimile edition in which the color will be freshly responsive tothe photographer s intentions.