Signed; Joel Meyerowitz - The Arch - 1988





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The Arch by Joel Meyerowitz, signed, in English, first edition in this format, paperback, 48 pages, 19 × 18 cm, published by New York Graphic Society Book in 1988.
Description from the seller
The 192-meter arch, a beautiful futuristic form projecting an optimistic aura, located on the western bank of the Missouri, contrasts strongly with the disorderly character of the city of St. Louis. Relying on the strong focal point created by the arch, Joël Meyerowitz's photographs speak of its constant presence. As a cultural symbol, the arch appears in the city on signs. Even when you can’t see it, it remains present as a symbolic figure in the city.
In this book, Joël Meyerowitz takes the arch as a through-line and integrates it into his images as details, sometimes tiny, of an urban image otherwise saturated with shapes and information.
A master of color, Joël Meyerowitz is one of the most important contemporary American photographers. He captures America, stripping it down, whereas color tends to exalt only the surfaces. He chooses proximity and critical empathy toward his subjects, and creates with the viewer a visual rapport that few photographers are able to evoke.
The 192-meter arch, a beautiful futuristic form projecting an optimistic aura, located on the western bank of the Missouri, contrasts strongly with the disorderly character of the city of St. Louis. Relying on the strong focal point created by the arch, Joël Meyerowitz's photographs speak of its constant presence. As a cultural symbol, the arch appears in the city on signs. Even when you can’t see it, it remains present as a symbolic figure in the city.
In this book, Joël Meyerowitz takes the arch as a through-line and integrates it into his images as details, sometimes tiny, of an urban image otherwise saturated with shapes and information.
A master of color, Joël Meyerowitz is one of the most important contemporary American photographers. He captures America, stripping it down, whereas color tends to exalt only the surfaces. He chooses proximity and critical empathy toward his subjects, and creates with the viewer a visual rapport that few photographers are able to evoke.

