Walker Evans - Depth of Field (MINT CONDITION, SHRINK-WRAPPED) - 2015

GREAT OPPORTUNITY to purchase this FANTASTIC, HIGHLY IMPRESSIVE, COMPREHENSIVE MONOGRAPH
of one of the most important photographers and artists of the 20th and 21st centuries: The American Walker Evans.

Published on the occasion of the exhibition at "Josef Albers Museum Quadrat, Bottrop" (2015/2016), at the "High Museum of Art, Atlanta" (2016) and at the "Vancouver Art Gallery" (2016/2017).

COMPLETE WITH THE ORIGINAL DUSTJACKET AND WITH THE ORIGINAL BELLYBAND.

After the major MoMA exhibition in 1971 and the exhibition at the Metropolitan Museum in 2000, this retrospective will be the most comprehensive retrospective of the outstanding photographer (1903-1975) to date. At the same time, "Walker Evans. Depth of Field" is the first Walker Evans exhibition of this calibre to be launched in Europe.

New, mint, unread; still in the original publisher's plastic foil.
COLLECTOR'S COPY.

This is an auction by 5Uhr30.com (Ecki Heuser, Cologne, Germany).
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Prestel, Munich, London, New York; Josef Albers Museum Quadrat, Bottrop. 2015. First edition, first printing.

Hardcover with dustjacket and with bellyband. 255 x 270 mm. 408 pages. 400 illustrations (50 in color). Photos: Walker Evans. Contributors: Jerry L. Thompson, Alan Trachtenberg, Thomas Weski. Editors: John T. Hill and Heinz Liesbrock. Text in English.

Great photobook - in perfect condition.

"The exhibition brings together more than 200 photographs in vintage or lifetime quality from the most important photographic collections in the USA, such as the Museum of Modern Art, the Metropolitan Museum, the Yale University Art Gallery, and important private collections in the USA og Europe. This means that all of Walker Evans' important groups of works will be represented in their entirety or with outstanding examples. Not only the iconic works for the Farm Security Administration (1935-1936), but also Cuba (1933), Many Are Called (1938-41), and Fortune magazine, as well as Evans' late Polaroid portraits, show how he systematically devoted himself to a subject over decades and with the technical possibilities that were current at the time. In addition to portraiture, for example, his interest in advertising graphics, signs and typography was a recurring motif from the late 1920s until just before his death.
His pictorial inventions on these landmarks of modernism reflect the idea of the objet trouvé and obviously influenced later Pop Art. The timeless work on what Evans himself called the reappearance of photography is as much to be discovered as the extraordinary influence that literature, especially French literature, had on his work. Not for nothing is his perhaps best-known project, the book American Photographs (1938), evidence that photography is, in Evans' words, "... the most literary of all graphic arts ...".
(Josef Albers Museum, Bottrop, Germany)

"This resplendent volume is the most comprehensive study of Walker Evans’s work ever published, containing masterful images accompanied by authoritative commentary from leading photography historians.
The name Walker Evans conjures images of the American everyman. Whether it’s his iconic contributions to James Agee’s depression-era classic book, "Let Us Now Praise Famous Men", his architectural explorations of antebellum plantations, or his subway series, taken with a camera hidden in his coat, Evans’s accessible and eloquent photographs speak to us all. This comprehensive book traces the entire arc of Evans’s remarkable career, from the 1930’s to the 1970’s. The illustrations in the book range from his earliest images taken with a vest pocket camera, to his final photos using the then new SX-70 because his regular equipment became too heavy to carry around.
The book includes commentary from three of Evans’s longtime friends, photographers Alan Trachtenberg, Jerry Thompson and John T. Hill. Their insight and first-hand experience give depth to their critical writings on Evans’s work. In addition to offering a broad perspective on Evans’ work, the book also clarifies the photographer’s “anti-art” philosophy. Eschewing aesthetic hyperbole, Evans wanted his pictures to resonate with a wide audience. At the same time, his natural curiosity made him one of the most inventive photographers of all time. What these photographs and writings attest to is a huge and timeless talent, which came not from a camera, but from Evans’s uniquely hungry eye."
(from the publisher)