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Grim Street (Anglais) Relié – 1 janvier 2005

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Descriptions du produit

Biographie de l'auteur

Mark Cohen’s numerous solo exhibitions include those at the Museum of Modern Art, New York, the Art Institute of Chicago, and the Corcoran Gallery of Art, Washington, D.C. His work is included in the permanent collections of the Whitney Museum of American Art, the Museum of Modern Art, and The Metropolitan Museum of Art, New York; the Corcoran Gallery of Art, Washington, D.C.; and the Fogg Museum, Cambridge. Cohen’s awards include a National Endowment for the Arts Fellowship and two Guggenheim Fellowships. He lives in Wilkes-Barre, Pennsylvania.

Anne Wilkes Tucker is the Gus and Lyndall Wortham Curator of Photography and founder of the Photography Department at The Museum of Fine Arts, Houston. She has curated exhibitions of artists including Robert Frank, Brassaï, and Richard Misrach. Tucker has been awarded fellowships by the National Endowment for the Arts, the John Simon Guggenheim Memorial Foundation, and the Getty Center. She lives in Houston.

Thomas Southall is the Curator of Photography at the High Museum of Art, Atlanta and has organized numerous exhibitions with publications including Walker Evans and William Christenberry: Of Time and Place and Diane Arbus: Magazine Work. He lives in Atlanta.

Joel-Peter Witkin’s photography, which explores the themes of God, Death, and the self, has been the subject of sixteen monographs and more than one hundred solo exhibitions. Witkin lives in Albuquerque, New Mexico.

Détails sur le produit

  • Relié: 144 pages
  • Editeur : powerHouse Books (1 janvier 2005)
  • Langue : Anglais
  • ISBN-10: 1576872300
  • ISBN-13: 978-1576872307
  • Dimensions du produit: 24,1 x 2 x 31 cm
  • Moyenne des commentaires client : 4.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 91.889 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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Par Nicolas le 10 novembre 2013
Format: Relié
Je conseille vraiment ce livre de Cohen, de très belles prises de vues caucases et mysterieuses : un point de vue singulier et un style bien particulier.
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Amazon.com: 5 commentaires
10 internautes sur 10 ont trouvé ce commentaire utile 
Grim Street Revisited 21 novembre 2007
Par GAR - Publié sur Amazon.com
Format: Relié
I lived on Grim Street . In the mid 1970's I lived in the Heights Section of Wilkes-Barre Pa where Mr Cohen did many of the photos in this fine collection. He was a quiet fixture on those streets on a late Sunday afternoon. One would see the tall lanky stranger in his army fatigue jacket and horn rimmed glasses walking along those streets occassionally stopping to quickly photograph a stray dog or an unwashed child along the sidewalk. There was almost a random approach to his subjects but he would bend and sometimes stoop as he would click off 4 or 5 quick "snaps" of his subject and then be off after his next subject. I was in my early 20's at the time and curious as to how anyone could find interest in those mundane often grimy if not grim scenes in that neighborhood. I now have the answer over 30 years later. This fascinating collection evokes a time and place that could represent any of our inner city neighborhoods. The black and white of the pictures captures the mood and feel of the subjects. I recommend this volume as a must have for any serious student of photography or urban life over the past century.
5 internautes sur 5 ont trouvé ce commentaire utile 
Grim Street 15 janvier 2008
Par fortherabbit - Publié sur Amazon.com
Format: Relié
True Color

I, a son of Wilkes-Barre, spent weekends with my father and grandfather in the Heights Section of this fabled coal-town. Though, my time there came years after Cohen's published street work, I can still relate to those dusty images, a virtual urban playground for little boys. Tackle football in the backyards, bordered by massive, dilapidated fences; the distinct, sharp smell of cigarettes in the hands of kids no older than 13; boarded windows, with peep-holes just my height. The alleys I walked never struck me as eerie, they were the norm, they were Wilkes-Barre and to some degree the same is true today. Cohen's unique visual-ethnographic study of urban banality, makes beautiful the unusual and awkward character of Northeastern Pennsylvania.
7 internautes sur 8 ont trouvé ce commentaire utile 
'Grabshots' Illuminate the Grim Streets of Wilkes-Barre, PA 24 août 2005
Par Grady Harp - Publié sur Amazon.com
Format: Relié
Mark Cohen is a restless poet of a photographer. In GRIM STREET he demonstrates his enormous ability to grasp a winking moment of life in the back streets, isolated fleeting views of the ordinary made extraordinary. This very fine book of photographs is less attuned to compositionally correct images as emotionally charged ones. As such it is a monograph of the smarmy, dark, seedy and at times embarrassingly immediate life of the underbelly of America as represented by the streets of Wilkes-Barre, PA.

Cohen's successful forays in to this territory are accompanied by 'interviews' conducted by Anne Wilkes Tucker and Thomas Southall. The composite result is a book that 'reads' like a novel and will remain compelling present in the mind's eye long after perusing it. Fine work! Grady Harp, August 05
6 internautes sur 8 ont trouvé ce commentaire utile 
An excellent source of inspiration for street photographers. 11 mai 2009
Par Tom Brody - Publié sur Amazon.com
Format: Relié Achat vérifié
GRIM STREET is 142 pages long and contains 100 full-page black and white photographs of street scenes from residential neighborhoods. With repeated viewings, some of the pictures grow on you, and one is struck with the unusual artfulness of these pictures. I found only 8 such pictures. On the plus side, these 8 photos are inspiring and could easily be expanded upon by other photographers into a portfolio of a dozen or so related images.

JUMP ROPE shows a girl standing while holding a jump rope. The jump rope is twisted once between her legs. The image does not include the girl's head or feet.

LILLIAN SALTING shows a hand holding a salt shaker, with streams of salt pouring out of some 20 holes in the salt shaker, where the streams of salt fall into a cloud of steam rising from a kettle of boiling water.

MOTORCYCLE GANG ON GROUND shows a man lying on the ground, while another man pours beer into the first man's mouth. Two hands are shown, each clutching a cigarette. An arm over to the right bears a tattoo of the devil. The photo is an ensemble scene. The composition is similar to these by photographer Larry Fink, as found in his marvelous book, SOCIAL GRACES.

KID IN WINDOW AND GAS TUBE shows a juxtaposition of a silvery metal cylinder mounted on the outside of a house, with a value and bent gas lines and an infant inside of the house. The infant is visible through a window situated next to the silver cylinder. The infant sits on a table and is stabilized by its mother's hands. The infant's bald forehead resembles, in form, the round top of the silvery cylinder of gas. The textures of the gas tank, shingling on the house, and window, collaborate to make a very interesting photograph, worthy of repeated viewings.

TWO GUYS' SHOES AND FEET is unusual in that it is a closeup of two adjacent feet, but each foot belongs to a different man. The pants are different. The shoes have a different style. The socks have different colors. Despite these differences, upon first glance the viewer assumes that both feet belong to the same person. But after a few seconds, one realizes that the feet and legs are contributed by two different people.

GIRLS PLAYING UNDER A BOX shows two girls with one box over their heads. It is a cute picture, but the same type of image has been done before by photographer HELEN LEVITT.

BUBBLE GUM is the standout photograph in GRIM STREET. We see a blown up bubble gum filled with a girl's breath, and behind the bubble is the girl holding the bubble in her mouth, and behind the girl is a child holding his outstretched hand above the girl's head. The outstretched hand, with its splayed fingers, resembles a crown over the girl's head. This is the type of photograph that is often taken by photographer Martin Parr.

BOYS ON BICYCLE shows an arrangement of arms and handlebars, where two boys are sitting on one bicycle. One of the boys has ink-pen tattoos on his arm. One is the name, "DICK." The other is a drawing of a crucifix. The image brings to mind the paintings of Phillip Pearlstein, because if its sculptural quality. In other words, the goal of the image is to show an interesting composition, as might be found in a sculpture made from welded tubes or scrap metal.

CONCLUSION. GRIM STREET is an excellent tool for photographers interested in inspiration for their own portfolios. At least to me, only 7 or 8 photographs were inspiring.

I am not sure why I would want to look at this book more than three times. There are other photographers with portfolios that I like to view repeatedly. These include Nicholas Nixon, Helen Levitt, Martin Parr, Larry Fink, and Max Yavno. Like Mark Cohen, each of these photographers has created a portfolio of street scenes, or informal family scenes, where children abound. But the quality and quantity of these other portfolios are better than that of GRIM STREET (providing that quality is measured by clarity, sharpness, and novelty in composition).

Graininess and blurriness is sometimes used, to excellent effect, as a technique in photography. Perhaps, for some of the photos in GRIM STREET, it might reasonably be argued that the graininess and blurriness adds something, or that these are integral components of the photo. But I am not sure why most of the GRIM STREET photos need to be blurry or grainy. THREE STARS.
7 internautes sur 10 ont trouvé ce commentaire utile 
Grim Street 11 février 2005
Par Village Gardener - Publié sur Amazon.com
Format: Relié
"A lot of it is mood driven, but I don't exactly know where the motive and inspiration to take pictures comes from. So it's very spontaneous work; there's not a lot really to plan." So it would seem at first glance upon Mark Cohen's masterful collection of work presented in his first (and hopefully not last) book Grim Street . From this revealing quote by the author, we are lead to believe that Cohen himself discovers in his darkroom much of the beauty portrayed in his work.

As anyone who has followed Cohen's work knows, Mark has been influenced greatly by the renowned street photographer Cartier-Bresson with his ability to capture the unfolding "decisive moment." But Cohen's work is anything but unfolding, on the contrary; it is literally in-your-face obtrusive, grabbing on film fleeting sublime moments, otherwise lost forever in eternity. One can almost amusingly imagine Cohen, armed with his trade mark flash and wide angle lens, scurrying around a photo-opportunity with Bresson. While Bresson contemplates from a distance the "decisive moment" to release the shutter; Cohen (in his own words) uses "grab shots" often without even the use of a viewfinder to capture what could be called "multiple moments." It is apparent from this exquisite body of work that Mark Cohen is the heir apparent to the recently deceased Bresson, and, one might say, an "impatient" 21st Century updated version of the master.

Ignoring for a moment the obvious psychological and sociological content of Cohen's work, the visual subject matter of Grim Street is indeed at first glance difficult to digest. It is anything but "cheery", often times seedy, sometimes voyeuristic, and occasionally downright lascivious. But the ultimate irony is that these qualities of course are passing and superficial, as fleeting as Cohen's flick of the shutter. For it's only with pausing and contemplating the work that the disquieting subject matter "disappears" and the true mastery reappears. That perfect wisp of hair, that "just so" turn of a cat's tail, that flawlessly lit foreground and carefully nuanced background, those repeating diagonals inside exquisite compositions, and all the artistic universals that forever have withstood the test of time, are there to be discovered in this collection.

May this reviewer be so bold as to suggest an answer to Mr. Cohen's own query about the source of his inspiration referred to earlier? A grim street is down-and-dirty, mean and often times dangerous. Surely there is no inspiration to be found in such a secular reality, unless one has the genius and magical gift to capture a transcendent glimpse of a more perfect place. The source of that gift, the inspiration is not temporal. Undoubtedly we're all traveling on a type of "grim street." Thank God we have inspired and graced artists such as Mark Cohen to give us an occasional glance at our idyllic destination.
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