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Publisher's presentation :
"The book brings together a set of works, selected by the artist and devised from the outset in small formats. Through a chronological sequence from the early 1970’s until today, we observe the sharpness and precision of Jeff Wall’s approach all the better here, with all of his passion for art history and broad knowledge of painting. Alternating points of view between a « wandering » approach for the photo-text essay Landscape Manual of the early 1970’s, carefully composed subjects on lightboxes with Diagonal Composition (1993) and more intimate themes with Torso (1997) printed on paper.
An essay by French critic and historian Jean-François Chevrier along with an interview between Chevrier and the artist enlighten us on the multiple facets of this work."
108 pages - Hardcover
Editions Xavier Barral, 2015
New - Mint condition
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Presentation by Steidl: "For over 20 years, Jeff Wall has been developing an outstanding body of work, using photography in an innovative way which has contributed significantly to placing the medium of photography firmly on the map of contemporary art. In his carefully staged and composed images, sometimes digitally altered, placed in back-lit boxes...
.Sold out.We are offering copies of the third edition (see "Suggestions" tab).This book tells the story of a criminal investigation, in B & W images, in the japanese countryside of the 50's. The artist followed the investigators in their roaming of the area, the crime scene, the surrounding neighborhoods, and into their offices... The images he...
This Watabe Yukichi photobook tells the story of a criminal investigation, in B & W images, in the japanese countryside of the 50's. The artist followed the investigators in their roaming of the area, the crime scene, the surrounding neighborhoods, and into their offices... The images he brought convey a deep feeling of doubt, a strange atmosphere,...
Presentation by Editions Xavier Barral: "“The slow ruin of a man with no ties, a refugee from a long expedition, which repeats itself from room to room.” Antoine d’Agata does not stage the world he photographs, he is merely the silent witness, the assiduous spectator. He plunges himself into it headlong, and carries us along with him in these ordinary or...