Every weekend for more than two years, Joan Colom explored the "bas-fonds" of Barcelona, the Raval neighbourhood that is known today as the "Barrio Chino". Concerned with remaining discreet and breaking with the aesthetic traditions of his elders, he began by photographing without aiming the camera. Only whilst printing would he decide on the precise frame for each image. He saw himself as an impassioned witness of a social theatre and his work as a search for authentic "images that touch me."
Today, the "imaginaire" of urban life of the Barrio Chino is rooted in Colom's images. His work was praised early on by personalities such as Ramon Massats and Joseph Maria Casademont who wrote in 1961: "with Joan Colom, we are entering a new phase of our history of photography." In these images the modernist avantgarde of the fifties is interwined with the "dark" and pessimistic tradition of Spain during the Franco era.
"synopsis" may belong to another edition of this title.
I discovered the Barrio Chino in 1958, I understood that it was my world. I was fascinated by its diversity and its social richness...I literally got sucked in by the human quality of these characters...Every weekend, for more than two years, Joan Colom explored the "bas-fonds" of Barcelona, the Raval neighbourhood that is known today as the "Barrio Chino". Concerned with remaining discreet and breaking with the aesthetic traditions of his elders, he began by photographing without aiming the camera. Only whilst printing would he decide on the precise frame for each image. He saw himself as an impassioned witness of a social theatre and his work as a search for authentic "images that touch me." Today, the "imaginaire" of urban life of the Barrio Chino is rooted in Colom's images. His work was praised early on by personalities, such as Ramon Massats and Joseph Maria Casademont who wrote in 1961: "with Joan Colom, we are entering a new phase of our history of photography." In these images, the modernist avantgarde of the fifties is interwined with the "dark" and pessimistic tradition of Spain during the Franco era.
"About this title" may belong to another edition of this title.
Seller: ANARTIST, New York, NY, U.S.A.
Hardcover without dustjacket as issued, 136 pages; in English; as new condition; clean and crisp; no internal marks. Foreign shipping may be extra. Seller Inventory # JoCoSt60
Seller: Black Gull Books (P.B.F.A.), St Leonard's on Sea, United Kingdom
hardcover. Condition: Very Good. Seller Inventory # 15620
Seller: Mooney's bookstore, Den Helder, Netherlands
Condition: Very Good. Seller Inventory # AFFA54615F8B228
Quantity: 1 available
Seller: BWS BKS, Ferndale, NY, U.S.A.
Hardcover. Condition: New. In the last years of the 1950s, Joan Colom spent every weekend exploring the "bas-fonds" of Barcelona, the Raval neighborhood known today as the Barrio Chino. Interest both in remaining discreet and in breaking with the aesthetic traditions of his elders caused him to begin working without aiming his camera; only while printing did he frame each image. On the street and in the darkroom, he saw himself as an impassioned witness to social theater and his work as a search for "images that touch me." His results were praised early on by personalities such as Ramon Massats and Josep Maria Casademont, who wrote in 1961, "with Joan Colom, we are entering a new phase of our history of photography." These classic images entwine the aesthetic of the 50s Modernist avant garde with the dark, pessimistic tradition of Franco's Spain; today, the image of the Barrio Chino is rooted in Colom's work. Seller Inventory # 90180