'Landscape and Industry' is both a set of photographs covering a range of landscapes and industries, and an exploration of how contemporary art can draw on the influences of early industrial 'record picture' photography and 19th century & Naturalist landscape painting. Photographed on large format in a matter of fact aesthetic, the subjects include Battersea Power Station, Birmingham car factories, Pennsylvanian coal mines, cityscapes of London, New York and Paris, the Bedford brickworks and the industrial remains on the Hoo Peninsula. As Michael Collins writes in the introductory essay: 'The matter of fact nature of photography is its eloquence. Its creativity comes not from an a priori imagining, but a patient observation, and from that close reading, the photograph exposes an unlimited visual dimension. It is the inclusion of the unsolicited, unimagined and unwelcome that make the photograph feel so realistic and authentic. The photographic truth isn't stranger than fiction, it's more fascinating - At its prime, it is the visual art par excellence because it is wholly about looking. There is no mark making. Everything is observed.'
"synopsis" may belong to another edition of this title.
Michael Collins' photography has been exhibited at the Barbican Art Gallery, the Guildhall Art Gallery, RIBA, ffotogallery, City Hall (London), The Potteries Museum and Art Gallery, and other venues in England and the USA. He is represented by the Janet Borden Gallery, New York.
'Landscape and Industry' is both a set of photographs covering a range of landscapes and industries, and an exploration of how contemporary art can draw on the influences of early industrial 'record picture' photography and 19th century & Naturalist landscape painting. Photographed on large format in a matter of fact aesthetic, the subjects include Battersea Power Station, Birmingham car factories, Pennsylvanian coal mines, cityscapes of London, New York and Paris, the Bedford brickworks and the industrial remains on the Hoo Peninsula. As Michael Collins writes in the introductory essay: 'The matter of fact nature of photography is its eloquence. Its creativity comes not from an a priori imagining, but a patient observation, and from that close reading, the photograph exposes an unlimited visual dimension. It is the inclusion of the unsolicited, unimagined and unwelcome that make the photograph feel so realistic and authentic. The photographic truth isn't stranger than fiction, it's more fascinating - At its prime, it is the visual art par excellence because it is wholly about looking. There is no mark making. Everything is observed.'
"About this title" may belong to another edition of this title.
Seller: Better World Books Ltd, Dunfermline, United Kingdom
Condition: Good. Ships from the UK. Former library book; may include library markings. Used book that is in clean, average condition without any missing pages. Seller Inventory # 47846677-20
Seller: Acadia Art & Rare Books. Est. 1931, Toronto, ON, Canada
Hardcover. Condition: Near Fine. 1st Edition. Hardcover with dark gray boards and tipped-in photograph to front. Copiously illustrated throughout in color. Clean, unmarked, and square. Seller Inventory # 032553
Seller: Widney Manor Books, Solihull, MIDLA, United Kingdom
Hardcover. Condition: Very Good. Book is in very good condition. 144pp with colour photographs. Seller Inventory # 013327
Seller: ANARTIST, New York, NY, U.S.A.
Hardcover without dustjacket as issued; unpaginated; very good condition; light rubbing to covers; signed by Michael Collins on title page; no other internal marks. Foreign shipping may be extra. Seller Inventory # MiCoDe85
Seller: Widney Manor Books, Solihull, MIDLA, United Kingdom
Hardcover. Condition: New. New book still in shrink wrap. Seller Inventory # 008359