Lydia panas (8 Ergebnisse)

hardcover. Zustand: fine. A book of color photographs, with an introduction by Maile Meloy. 95 pages. Oblong 4to, pictorial boards. Berlin: Kehrer, (2011). Fine. Signed by the artist on title page. Lydia Panas (illustrator).

Hardcover. Zustand: Sehr gut. 96 p. Near mint condition. ISBN: 9783868282290 Sprache: Englisch Gewicht in Gramm: 889.

Hardcover. Zustand: Brand New. 112 pages. 12.00x10.00x0.75 inches. In Stock.

Hardcover. Zustand: New. In shrink wrap. Looks like an interesting title.

Quer-Gr. 8°, 95 S. durchgehend mit farbigen Fotos, Orig.-Pappband. Erste Ausgabe.- Gutes Exemplar.

Buch. Zustand: Neu. Neuware - Portraits of women and girls intertwined with the photographer's gaze, in a rare subversion of photography's power relationsThis volume presents award-winning Pennsylvania-based photographer Lydia Panas' (born 1958) much-praised series of mesmerizing color portraits of reclining women and girls. In an interesting reversal of roles, the artist's and models' gazes are intertwined, incorporating the viewer as participant in an often uncomfortable connection. Critics and curators have praised the work for Panas' artistic and technical mastery, and all have noted and examined the powerfully affecting gaze of her subjects. Panas notes: 'While my subjects do in actuality turn their gaze towards me, it's as if at times I turn the camera onto myself, both in the present and back in time.' In Sleeping Beauty, her subjects lie down, a metaphor for the position girls and women have been placed in historically. But they look out with self-awareness, in a way that implies a lack of complicity.…

Hardcover. Zustand: new. Hardcover. Portraits of women and girls intertwined with the photographers gaze, in a rare subversion of photographys power relationsThis volume presents award-winning Pennsylvania-based photographer Lydia Panas (born 1958) much-praised series of mesmerizing color portraits of reclining women and girls. In an interesting reversal of roles, the artist's and models' gazes are intertwined, incorporating the viewer as participant in an often uncomfortable connection. Critics and curators have praised the work for Panas artistic and technical mastery, and all have noted and examined the powerfully affecting gaze of her subjects. Panas notes: While my subjects do in actuality turn their gaze towards me, its as if at times I turn the camera onto myself, both in the present and back in time. In Sleeping Beauty, her subjects lie down, a metaphor for the position girls and women have been placed in historically. But they look out with self-awareness, in a way that implies a lack of complicity. Shipping may be from our Sydney, NSW warehouse or from our UK or US warehouse, depending on stock availability.…

Hardcover. Zustand: New. 1st Edition. Signed, dated and inscribed ("For Toby, Warm Regards, Lydia Panas, 2012") by Panas, in black ink, to the title page. Printed paper covered photographically illustrated boards with the title to the upper side and spine. No dust jacket, as issued. Photographs by Lydia Panas. Texts by Maile Meloy, George Slade and Lydia Panas. Small oblong 4to (24cm x 30cm), pp.96, 50 colour illustrations. From the publisher: "For three years in hot weather and cold, Lydia Panas invited families to stand before her lens. She was curious to see what would happen. These groups stood graciously before her as the series unfolded. Nothing was deliberate or planned. The images do not represent individuals so much as they explore the questions of how we see ourselves and what we feel. In these pictures of family relationships, it is the details that matter most. Although they portray engaging people, verdant landscapes and beautiful light, it is the small things in the images that provide us with clues to understand the subtle nature of the work. After twenty years of working exclusively in black and white photography, mostly with her own children, Lydia began inviting other people with whom she was less intimate, to her farm in Pennsylvania, to see what difference this might bring to her work. Some of the models are family, some are friends, some are people she knew less intimately. She asked them to bring along their own family members or close friends, people with whom they shared a history. It was fascinating to see how they took certain positions in relation to one another, to the photographer and to the camera. Panas found that with the camera, she was free to watch and capture a sense of the connections between people, those unclear feelings that exist between us. Those moments we feel, yet are so difficult to describe in our connections with others.". Signed by Author(s).…