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克里斯托弗·安德森在9/11事件后开始拍摄纽约警察，因为他称之为家的这座城市的视觉景观开始发生变化。爆炸防护墙拔地而起，携带更大武器的警察似乎无处不在，尽管增强的安全部署部分是为了让纽约人感到安全，但这让安德森意识到深层次的问题。

随后，随着占领华尔街运动、埃里克·加纳之死以及特朗普上台，安德森再次走上纽约街头拍摄警察，作为对更大权威感的无意识抗议。

安德森是 Magnum 摄影师事务所成员。1999年，他因拍摄在一艘下沉木船上救援海地难民的感人画面而获得罗伯特·卡帕金牌。此前的著作《Approximate Joy》被广泛公认为2018年最优秀的书籍之一。

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Christopher Anderson began photographing New York City cops in the wake of 9/11, as the visual landscape of the city he called home began to change. Bomb blast barriers went up, cops carrying larger guns seemed to be everywhere, and whilst the increased presence of security was designed, in part, to make New Yorkers feel safe, it reminded Anderson that something was deeply wrong.

Then, in the wake of Occupy Wall Street, the death of Eric Garner and the election of Trump, Anderson found himself making photographs of cops on the streets of New York City once again, as a form of unconscious protest on a larger sense of authority.

Anderson is a member of Magnum. He first gained recognition in 1999 when his poignant images of the rescue of Haitian refugees taken onboard a sinking wooden boat won him the Robert Capa Gold Medal. His previous book Approximate Joy was widely regarded as one of the best books of 2018.

Christopher Anderson - COP - 2019

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COP 由 Christopher Anderson 著，2019 年第一版，精裝，Stanley/Barker 出版，88 頁，英文，原語言，狀態如新，仍密封。

Christopher Anderson - COP - 2019

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COP 由 Christopher Anderson 著，2019 年第一版，精裝，Stanley/Barker 出版，88 頁，英文，原語言，狀態如新，仍密封。

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