KSIĘGARNIA ARTYSTYCZNA BOOKOFF | UL.OGRODOWA 7 | 00-893 WARSZAWA | TEL. (22)[zasłonięte]253 62 | KOM. 503 [zasłonięte] 126

John Divola: Three Acts

Dane książki
ISBN	978-[zasłonięte][zasłonięte]17889
Oprawa	Oprawa twarda
Ilość stron	144
Wydawnictwo	Aperture
Język	Angielski

Cena: 139.00 PLN (wystawiamy faktury vat)

W celu obejrzenia naszej pełnej oferty książkowej zapraszamy do naszych księgarni w Warszawie:

Księgarnia Bookoff przy ul. Ogrodowej 7 specjalizuje się w książkach i albumach fotograficznych.
Tel. (22)[zasłonięte]253 62 lub 503 [zasłonięte] 126

Księgarnia czynna jest w godzinach:
Pon-Pt, godz. 11-19
Sob, godz. 12-16

Księgarnia Muzeum Bookoff przy ul. Pańskiej 3 w Muzeum Sztuki Nowoczesnej. Specjalizuje się w dziedzinach którym poświęcona jest działalność Muzeum, czyli sztuce, projektowaniu graficznemu, architekturze oraz urbanistyce.
Tel. 512 [zasłonięte] 208


Książka dostępna w Księgarni Bookoff przy ul. Ogrodowej 7.

Laurie Simmons is one of the first contemporary American photographers to have created elaborately-staged narrative photographs. Using dolls to act out piquant scenarios within specially constructed environments, she has slyly commented on contemporary culture while re-creating "a sense of the 50s that I knew was both beautiful and lethal." Prodigiously creative - she has produced some thirteen or fourteen fully developed series since the 1970s - Simmons uses highly saturated color and large formats, ranging from 20 by 24 inches to more recent work as large as 84 by 48 inches. Housewives, ballerinas, cowboys, tourists, and ventriloquists' dummies populate her diverse tableaux, which are often infused with a bittersweet sense of nostalgia yet charged with a disquieting sense of dislocation. In Laurie Simmons: Walking, Talking, Lying, Kate Linker concentrates on selected series - from "Ventriloquism," "Walking Objects," and "Lying Objects" to the 1997 Self-Portraits and the "Cafe of the Inner Mind" - to illuminate ideas that cut through the artist's entire body of work.

Of particular interest are the willfully ambiguous interplay between objects, figures, and backgrounds, and the way specific things (toys, cakes, guns) and settings (suburban interiors, theatrical stages) take on strange powers in Simmons's photographs. As Linker makes clear, the artist's use of narrative links her to a number of contemporary fiction writers, while her fondness for artifice, advertising, childhood memory, and unabashed eclecticism relates to - and has helped shape - the heated debates of the past thirty-some years about the nature of photography.