Dutch conceptual artist Hans Eijkelboom's work is very much in line with the deadpan, seemingly mechanistic note-taking of Ed Ruscha and Hans-Peter Feldman. In Paris-New York-Shanghai , Eijkelboom creates a witty comparative study of three major contemporary metropolises, each selected for having been the cultural capital of its time--Paris during the nineteenth century; New York, the twentieth; and Shanghai, the twenty-first.
This uniquely bound three-volume accordion-folded set opens up to allow the reader not only to view each city individually, but also to compare simultaneously the three photographic studies of each metropolis and its citizens. The large-format cityscapes with the identifying quirks of each city and the snapshot-style grids of their inhabitants soon reveal how similar one city is to another today. For example, Eijkelboom's grids of mothers carrying their infants in Baby Bjorns, or men wearing striped polo shirts highlight the ubiquity of many of our most intimate possessions. As Eijkelboom writes, "Globalization, combined with the desire of cities for visually spectacular elements, is leading to the appearance everywhere of city centers that look the same and where identical products are sold." With an introduction by Martin Parr.
具體描述
讀後感
評分
評分
評分
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用戶評價
很有意思。書本的裝幀很有新意，可單冊縱嚮閱讀，也可以三冊對比 橫嚮閱讀。但是希望，作者作為visitor，在城市以及在拍攝地點的選擇上能夠更加用心和賦予邏輯性，隻有這樣，纔能讓這本攝影集展現the nature of city life。
评分掃街大師
评分We are a product of the culture that we live in.
评分有點錶麵，有點逗
评分把上海拍得真土。
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