Gutes Exemplar; der OUmschlag stw. leicht berieben. - Englisch. - Nachwort von Nan Goldin. - David Bradley Armstrong (* 24. Mai 1954 in Arlington; � 26. Oktober 2014 in Los Angeles) war ein amerikanischer Fotograf. Er besuchte die Satya Community School in Cambridge (Massachusetts). Hier lernte er Nan Goldin kennen, mit der er sein Leben lang befreundet blieb. In den 1970er Jahren zog er nach New York um, wo er sein Kunststudium begann, zuerst als Maler und sp�r als Fotograf. Als Stammgast im legend�n New Yorker Mudd Club, der 1978 er�ffnete, portr�erte er die dort verkehrenden Underground-Celebrities, wie Jean-Michel Basquiat, Ren�icard, John Waters oder Steven Meisel, und fing die Club-Atmosph� ein. Gegen Ende seines Lebens durchstreifte er sein Viertel in Brooklyn und schuf die Serie "All Day Every Day", in der er urbane Alltagsfragmente in Unsch�e verschwimmen lie�und so in eine sanfte Melancholie tauchte. Stilistisch wird Armstrong der sogenannten fotografischen Boston School zugeordnet, zu der auch K�nstler wie Nan Goldin, Jack Pierson oder Mark Morrisroe gez�t werden. In den fr�hen Jahren seiner k�nstlerischen T�gkeit fotografierte Armstrong Dragqueens, "druggies" und "outsiders", die zu seinem Freundeskreis geh�rten. Im Laufe seiner Karriere nahm er zahlreiche Fotografien von jungen M�ern auf, was ihn auch der Modefotografie ann�rte. � (wiki) // . The simple, direct composition of Armstrong's photographs belies their complex meanings. As one looks through the book and into a young man's eyes there lies a vulnerability before the camera, yet we see beyond the surface of the page into the very core of his soul. As the subject returns your gaze you see through him, and a connection is made. So too with the landscapes; the viewer is inexplicably drawn into a world that is both familiar and transcendental. Armstrong's photographs are subdued, yet infused with an intense longing. Armstrong started his photographic journey by taking portraits of the people who give meaning to his life. He "wanted to make pictures that were simple, direct and accessible, about the relationship between myself, the sitter, and the light." Yet in the light, the air, the very quality of place, the landscapes eventually superseded the human subjects. Through this juxtaposition of portraits and landscapes we come to understand the intuitive quality of Armstrong's vision. The photographs show the desire and possibility of rescinding the constraints of our world and entering one that is beautiful, sensual and timeless. (Verlagstext) // FOTOGRAFIEN (Auszug) : Central Park West, New York City, 1996 ---- Building, Potsdam, 1992 ---- Kevin at St. Luke's Place, New York City, 1977 ---- Chris at Elizabeth Street, New York City, 1979 ---- Broken column, Krakow, 1995 ---- Pointed bushes, Versailles, 1993 ---- Tree trunks, Sans Souci, 1993 ---- Telephone pole, New Haven, 1995 ---- Bond and Broadway, New York City, 1995 ---- Andrew as a sailor, New Haven, 1996 ---- Felix at Dwight Street, New Haven, 1996 ---- Thilo, Berlin, 1994 ---- Sarah at Joey's, New York City, 1991 ---- Effi at Joey's, New York City, 1991 ---- Bruce at Joey's, New York City, 1991 ---- Chris at Rue Andre Antoine, Paris, 1980 ---- Eric, Paris, 1980 ---- John Kelly, New York City, 1990 ---- House with bush, Newport, 1996 ---- Brownstones, New Haven, 1996 ---- Kim, Jamaica Plain, 1977 ---- Mark at Otis Street, Cambridge, 1977 ---- Evan and Harvey, New York City, 1982 ---- Jose Marie and Scott, Berlin, 1992 ---- Andrew on New Haven Green, 1996 ---- Statue at Schloss Mirabel, Salzburg, 1994 ---- Joey at Kreuzberg Park, Berlin, 1992 ---- Bush, Prague Castle, 1993 ---- Vine, East Hampton, 1994 ---- Birches, Berlin, 1993 ---- Tree trunk, Newport, 1996 ---- Tree by the road, Czechoslovakia, 1992 ---- Wall at Versailles, 1992 ---- Branches, Worlitz, 1992 ---- Andrew at Battery Park, New York City, 1994 ---- Brandy as Gertrude, New Haven, 1996 ---- Arch with vine, New Haven, 1995 ---- Gate, Volkspark Friedrichshain, Berlin, 1995 ---- Todd, New York City, 1995 ---- Cemetery, New Haven, 1996 -- (u.v.a.) ISBN 3931141489
Découvrez comment utiliser
Découvrez comment utiliser