Signed; Joel Meyerowitz - The Arch - 1988





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

