Finally available in the trade edition: TASCHEN's massive, two-volume collection of Peter Beard's photos, diaries, and collages.Photographer, collector, diarist, and writer of books Peter Beard has fashioned his life into a work of art; the illustrated diaries he kept from a young age evolved into a serious career as an artist and earned him a central position in the international art world. He was painted by Francis Bacon, painted on by Salvador Dali, and made diaries with Andy Warhol; he toured with Truman Capote and the Rolling Stones, created books with Jacqueline Onassis and Mick Jagger - all of whom are brought to life, literally and figuratively, in his work. As a fashion photographer, he took "Vogue" stars like Veruschka to Africa and brought new ones - most notably Iman - back to the U.S. with him.His love affair with natural history and wildlife, which informs most of his work, began when he was a teenager. He had read the books of Isak Dinesen (Karen Blixen) and after spending time in Kenya and befriending the author, bought a piece of land near hers. It was the early 1960s and the big game hunters led safaris, with all the colonial elements Beard had read about in "Out of Africa" characterizing the open life and landscape, but the times were changing. Beard witnessed the dawn of Kenya's population explosion, which challenged finite resources and stressed animal populations - including the starving elephants of Tsavo, dying by the tens of thousands in a wasteland of eaten trees. So he documented what he saw - with diaries, photographs, and collages. He went against the wind in publishing unique and sometimes shocking books of these works. The corpses were laid bare; the facts were carefully written down sometimes in type, often by hand, occasionally with blood.Peter Beard's most important collages are included, along with hundreds of smaller-scale works and diaries, magnified to show every detail - from Beard's meticulous handwriting and old-master-inspired drawings to stones and bones and bits of animals pasted to the page.The special features include: two volumes in a cloth slipcase; a main book with 200 pages of diaries and 294 pages of collages + 5 fold-outs; an original essay by photo critic Owen Edwards; and a companion volume: PB2 image index with captions for all images from main book, personal photos and early work of the artist, interview with the artist by Steven M. L. Aronson, a facsimile reprint of Beard's 1993 handwritten essay from the sold-out first issue of "Blind Spot' magazine, extensive bibliography, and a list of exhibition.Finally available in the trade edition: this large-format special edition is based on the original limited Collector's Edition, which sold out instantly upon publication.
The artist: Born in New York City,Peter Beard(born 1938) began keeping diaries and taking photographs as an adolescent. After graduating from Yale, he developed a keen interest in Africa; in the early 1960s he worked at Kenya's Tsavo National Park, during which time he photographed and documented the demise of over 35,000 elephants and published his first book,The End of the Game. His first show at Blum Helman Gallery came in 1975, and was followed in 1977 by the landmark installation of elephant carcasses, burned diaries, taxidermy, African artifacts, books and personal memorabilia at New York's International Center for Photography. In addition to creating original artwork, Beard has also worked as a fashion photographer and collaborated on projects with Andy Warhol, Andrew Wyeth, Richard Lindner, Terry Southern, Truman Capote, and Francis Bacon. In 1996, shortly after Beard was trampled by an elephant, his first major retrospective opened at the Centre National de la Photographie in Paris, France, followed by others in Berlin, London, Toronto, Madrid, Milan, Tokyo, and Vienna. He now lives in New York City, Montauk Point, and Kenya with his wife Nejma and daughter Zara.
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这本书的封面设计简直是一场视觉的盛宴,那种粗粝的质感和大胆的色彩碰撞,立刻抓住了我的眼球。装帧的工艺也看得出是用心了,厚重的纸张拿在手里有一种沉甸甸的实在感,让人忍不住想立刻翻开它。从排版上看,文字和留白的比例拿捏得恰到好处,阅读起来毫不费力,仿佛每一个字都在呼吸。更别提那些穿插其中的插图和版式设计,它们不仅仅是装饰,更是叙事的一部分,引导着读者的思绪在不同的层次间跳跃。我花了很长时间只是端详这些设计细节,每一个小小的边框、每一个字体的选择,都透露出一种对美学的极致追求,这绝不是一本普通的印刷品,它更像是一件精心打磨的艺术品。那种未读先知的美好预期,使得翻开第一页的动作都变得庄重起来,生怕粗鲁地破坏了这份精心营造的氛围。它的重量和手感,本身就是一种阅读体验的预告,让人对接下来的文字内容充满了奇妙的期待。
评分这本书的叙事视角运用达到了出神入化的地步,你很难用单一的“第一人称”或“第三人称”来概括它。有时候,我感觉自己就是那个身处事件核心的观察者,感受着皮肤上的汗毛竖起;转瞬之间,视角又拔高到一种近乎全知的上帝视角,冷静地审视着所有角色的挣扎与选择。更奇妙的是,作者似乎还创造了“碎片化”的视角,一些段落更像是日记的残页、信件的片段,或是某个角色瞬间闪过的念头,它们以一种近乎不可捕捉的速度出现,却留下了深刻的印记。这种多变与不稳定,反而构建了一种更真实、更贴近人类经验的阅读体验——我们接收信息从来都不是线性的,而是混乱而充满回响的。它挑战了我们对“连续性”的固有认知,迫使读者必须主动参与到文本的重构之中,去填补那些留白,去连接那些看似断裂的线索,这绝对是一种智力上的高强度锻炼。
评分这本书的语言风格变化莫测,简直像是一个经验丰富的老水手,时而以精准、近乎科学的冷静剖析着世间万物,时而又像一个醉心的诗人,用一连串令人目眩神迷的比喻和排比句将读者带入一片情绪的海洋。我尤其欣赏作者在叙事节奏上的掌控力,他知道何时该疾风骤雨般推进情节,让读者喘不过气来,也懂得在关键时刻设置一片寂静的湖泊,让所有的感官都沉淀下来,去细细品味之前涌现的那些复杂情感和观念。这种强烈的张弛有度,使得阅读过程充满了一种动态的美感,你永远不知道下一秒会迎来的是哲学思辨的深渊,还是一个极其生活化的、带着泥土芬芳的场景描述。这种语言上的多面性,让我感到每一次阅读都是一次全新的冒险,而不是简单的信息接收。文字的力量被发挥到了极致,它们不再是传递意义的工具,而成为了构建世界的砖石。
评分整本书散发着一种难以言喻的“氛围感”,与其说它是一个故事,不如说它是一场精心策划的感官体验。作者似乎深谙如何通过文字来调动读者的嗅觉、触觉乃至对温度的感知。你会清晰地感受到那种潮湿的霉味、古老木材被阳光暴晒后的干燥气息,或者在某个特定场景下,空气中弥漫的某种金属的冰冷感。这种对细节的执着,让书中的场景拥有了近乎实体化的质感,我几乎能“触摸”到那些描述的表面。它不是通过堆砌形容词来实现的,而是一种内在的、有机的情感渗透,让你在阅读时,仿佛真的置身于那个特定时空之中,与人物一同呼吸、一同感受环境的压力。这种沉浸式的写作手法,使得这本书的阅读过程变成了一种全方位的“在场”,一旦进入,就很难轻易抽离出来,它抓住了读者感官的最深处,留下的回味是如此悠长和具体。
评分这本书所展现的世界观宏大得令人敬畏,它似乎并不满足于描绘一个单一的现实层面,而是将不同的时间线、不同的文化符号,甚至是非物质的灵感碎片,都巧妙地编织进一个巨大的网格之中。读着读着,我常常会产生一种错觉,仿佛自己站在一个高处,俯瞰着人类文明的兴衰起落,那些历史的幽灵和未来的可能性都在眼前交错闪现。作者的知识广度令人咂舌,从古老的仪式到最新的科技理论,他似乎信手拈来,却又将这些看似不相关的元素融合得天衣无缝,形成了一种独特的内在逻辑。这种融汇贯通的能力,让整本书具有了一种史诗般的厚重感,它不仅仅是讲述一个故事,更像是在构建一个完整的宇宙模型,复杂、多维,且充满待解的谜团。每次合上书本,那种被拉伸到极限的思维余韵久久不能散去。
评分超值的超级猛书!
评分看的时候很忐忑……
评分含泪评分(;_;)
评分尼玛啊禁书啊...尼玛看的我....又害怕又想吐的.......太血腥暴力色情了,不过又觉得这个人确实很牛= =
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