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
評分
用戶評價
可愛
评分非常喜歡的一套書，在某年的攝影展遇到。對於不同城市，人與人之間、人與城市之間、人與世界上彆的國傢的人之間，都可以通過一張張圖片找到“想法”。
评分或許作者不知道逛南京路的大部分是外地人。作為一本拍攝三座城市同一類（或錶麵上有相同點）的人、物的書，在人物的選取我認為是比較失敗的。我並不歧視外地人！盡管大量的外地人在上海一定程度上說明瞭上海的包容性，但人物選取時明顯的都是外地人，這就不能說明上海和在上海的人的特質瞭。如果作者這樣的傢庭作業都沒做好，那這書以及副標題就完全沒意義瞭。不過書的裝幀還是有新意的。
评分掃街大師
评分We are a product of the culture that we live in.
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