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Dewey Decimal Number: 779.2092 EAN: 9780810959286 ISBN: 0810959283 Label: 'Harry N. Abrams, Inc.' Manufacturer: 'Harry N. Abrams, Inc.' Number Of Items: 1 Number Of Pages: 184 Publication Date: October 01, 2005 Publisher: 'Harry N. Abrams, Inc.' Studio: 'Harry N. Abrams, Inc.' Editorial Review: Product Description: Richard Avedon's In the American West is widely regarded as a landmark project in photographic history and a definitive expression of the power of photographic art. First published by Abrams in 1985 in conjunction with an exhibition at the Amon Carter Museum in Fort Worth, Texas, the book is being reissued to accompany a 20th-anniversary re-showing of the exhibition at the same museum. Avedon, who died in 2004, was the greatest American photographer of his generation. For In the American West, he traveled throughout five years, meeting and photographing the plain people of the West: ranch workers, roustabouts, bar girls, drifters, and gamblers. The resulting book includes 120 exquisitely printed black-and-white photographs, an essay by Avedon on his working methods and portrait philosophy, a journal of the project by Laura Wilson, and a new foreword by John Rohrbach. The reissuing of this legendary book, out of print for more than a decade, is a major event in the photography world. Related Items:      see moreAverage Rating:
 Rating:  - A timeless, classic photography bookI remember seeing this book on its release in the 1980s. I couldn't afford it at the time, but I never forgot those images. Looking at them again, I can see the re-release of this group of Richard Avedon's work was fully justified. These portraits are raw - each man, woman and child is exposed. Avedon recognised that each of the individuals in these portraits were an entity unto themselves. Their lives are in their faces; there is no need for props or pictorial backgrounds. Everyone was photographed against a simple sheet of white paper - a groundbreaking approach for this genre at the time. No staging, nothing concealed, nothing enhanced and there is no evidence of tweeking. These photos distressed the romantic notion of 'the west' that prevailed until the late 1980s, and in turn contributed to its redefinition in popular culture. I still find myself looking at these pictures over and over again, wondering about the fate of some of these folks. This is another benefit of a book like this - it poses questions which cannot be easily answered - what happened to these people? I'm so very thankful I got myself a copy. If you, like myself, are working on building a photography book collection, then this is an essential addition. Rating: - art in photographyIn my personal opinion Avedons book "In the American West" is pure art, as he describes his images "A photographic portrait is a picture of someone who knows they are being photographed. A "sitting" is an exchange of emotions. The picture emerges when this emotions meet." Now we all have seen his pictures in magazines and on the web but "In the American west" is a superb printed book where you can appreciate every detail. Rating: - GorgeousI am not normally a fan of celebrity portraits, and perhaps moreso in Avedon's case. I find his celebrity work to be somewhat gimmicky, and not typically interesting to me. However, I recently was at B&N and took a look at "Avedon At Work: In The American West" and was very impressed by the photography (although not really by the book itself, which was really about the process, not the photos, besides the book being too expensive for what it was). This made me somewhat upset that all the normal Avedon work they had there was (primarily) his celebrity work, which, while bound and presented in a very interesting way, was not impressive to me visually. Thus, when Avedon's book "In The American West" popped up on Amazon for me, I was quite thrilled, and since I needed the extra purchase for free shipping anyway, I snatched it up. When it arrived, I was thrilled. The book is large (as large as Schoeller's "Close Up") but is also covered in a plastic sleeve to protect it even further, which is a welcome addition to such a gorgeous book. The cover has a great feel to it, and the pages are all a good weight and clarity. The photos are large, but not so large that you can't take it all while holding the book at arms length. They are detailed, highly personal, and extremely complex and subtle. They are what good portraits are. In the beginning and end of the book, it has a few pages of text talking about the overall project, and some specific people, however it keeps it separate from the images, which I find to be better, since you can then simply go through the images and view them as they are, without any other context or distraction. The only accompanying text for each photo is a brief caption including name, date taken, and occupation or title (Drifter, Oil Field Worker, etc.). While often they are predictable, there are a few captions that truly add a new depth to the image they are attached to. Overall this is a great book. It is unusual to find such high quality, large printed books for a great price like this, and so if you're considering, you should not pass this up. Rating: - TImeless masteryAvedon's post-celebrity period, arguably more poignantly presented in this publication than in any other of his works, is a real mark of his maturity as a portraitist. This is a high quality, candid, provacative and haunting record of the liminal characters of the American west, a project Avedon himself said he would have been happy spending the rest of his life completing. Essential reading for aspirant or active professional portraitists. Rating: - how does he do it?People like to say Avedon strips down everything, background and context and props and even shadow, but that's not really true, each of these portraits contains the pieces of a really complex narrative, and these people come to life in ways that are simultaneously erotic and sad, flamboyant and inarticulate, haughty and humiliated. |
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Critics and audiences didn't seem too happy with Back to the Future, Part II, the inventive, perhaps too clever sequel. Director Zemeckis and cast bent over backwards to add layers of time-travel complication, and while it surely exercises the brain it isn't necessarily funny in the same way that its predecessor was. It's well worth a visit, though, just to appreciate the imagination that went into it, particularly in a finale that has Marty watching his own actions from the first film. --Tom Keogh
Shot back-to-back with the second chapter in the trilogy, Back to the Future, Part III is less hectic than that film and has the same sweet spirit of the first, albeit in a whole new setting. This time, Marty ends up in the Old West of 1885, trying to prevent the death of mad scientist Christopher Lloyd at the hands of gunman Buford "Mad Dog" Tannen (Thomas F. Wilson, who had a recurring role as the bully Biff). Director Zemeckis successfully blends exciting special effects with the traditions of a Western and comes up with something original and fun. --Tom Keogh
