Paolo Roversi is known internationally for his romantic, intense, and ethereal fashion images and portraits, photographs that quiver on the edge of their own seemingly fragile existence. A typical Roversi picture appears as if captured in the process of becoming--it develops on the page before our very eyes or, depending on perspective, it might simply vanish into the ether. Since 1980 Roversi has worked primarily with 8-by-10 inch Polaroids, and rarely on location. Studio is a milestone in his burgeoning bibliography. Designed as a series of 60 gatefolds, at first glance the book appears to be a collection of empty pages. The experience of looking is akin to that of peeling away the leaf from a Polaroid--out of the blackness an image is revealed as if by magic. In images that represent nearly two decades of work, the collection offers a self-portrait of the artist and a window into the place where he creates his art. These photographs are a mix of both the published and the highly personal, but all have the intimacy engendered by that place where Roversi feels most at home. Clothbound, 11.25 x 12.5 in./60 pgs / 60 color.
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「Every photograph is an encounter, an intimate, reciprocal confession. I like long exposures to allow the soul all the time it needs to rise to the surface, and to let chance have its way. Always, photographs surprise me; they never turn to quite the way I imagine they might. 」
评分「Every photograph is an encounter, an intimate, reciprocal confession. I like long exposures to allow the soul all the time it needs to rise to the surface, and to let chance have its way. Always, photographs surprise me; they never turn to quite the way I imagine they might. 」
评分「Every photograph is an encounter, an intimate, reciprocal confession. I like long exposures to allow the soul all the time it needs to rise to the surface, and to let chance have its way. Always, photographs surprise me; they never turn to quite the way I imagine they might. 」
评分「Every photograph is an encounter, an intimate, reciprocal confession. I like long exposures to allow the soul all the time it needs to rise to the surface, and to let chance have its way. Always, photographs surprise me; they never turn to quite the way I imagine they might. 」
评分「Every photograph is an encounter, an intimate, reciprocal confession. I like long exposures to allow the soul all the time it needs to rise to the surface, and to let chance have its way. Always, photographs surprise me; they never turn to quite the way I imagine they might. 」
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