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| MARCO POLONI: THE PASSENGERS
Essays by Pierre-Andr» Lienhard and Stefan Banz.VERLAG FUR MODERNE KUNST NURNBERG
U.S. $40.00 | CAN $48
ISBN: 9783936711615 | TRADE
PUB DATE: 8/15/2005 | In stock | | |
| | | Marco Poloni: The PassengersPhotographic WorksEssays by Pierre-Andr» Lienhard and Stefan Banz.
Published by Verlag Fur Moderne Kunst NurnbergThese works by photographer and videographer Marco Poloni consist of photo storyboards for films never made. Haunting black-and-white images and accompanying captions suggest noir danger, but in fact, all action, if indeed there is any, takes place outside the frame. The viewer is thus forced into the role of a confidant, an unwilling party to a conspiracy. In this way, Poloni plays with our certainty about the alleged ability of a picture to be representative of reality. The frame is the ultimate arbiter of the story. | D.A.P. CATALOG: FALL 2005 p. 107 | SEARCH BY ARTIST, TITLE OR KEYWORD |
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| MARCO POLONI: THE PASSENGERS
$40.00 | In Stock: Order below or contact your local bookstore or museum shop.
| U.S. LIST PRICE: U.S. $40.00
CANADIAN PRICE: CAN $48
ISBN: 9783936711615
FORMAT: Hardcover, 8.5 x 11.75 in. / 184 pgs / 75 b&w.
PUBLISHER: Verlag Fur Moderne Kunst Nurnberg
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PUBLICATION DATE: 8/15/2005 | Active
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The D.A.P. Catalog @ ARTBOOK | D.A.P. / Distributed Art Publishers, Inc. | New York, New York
1-800-338-BOOKCopyright Distributed Art Publishers, Inc. and Artbook LLC and the respective holders of copyright in individual images and texts, 2010.
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| Marco Poloni: The Passengers | Verlag Fur Moderne Kunst Nurnberg | Pub Date: 8/15/2005 |  |
LIST PRICE: U.S. $40.00
LIST PRICE: CANADA $48
ISBN: 9783936711615
PUBLISHER: Verlag Fur Moderne Kunst Nurnberg
PUB DATE: 8/15/2005
FORMAT: Hardcover, 8.5 x 11.75 in. / 184 pgs / 75 b&w.
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: ActiveAVAILABILITY: In stock
| D.A.P. CATALOG:
FALL 2005 Page 107 |
| Marco Poloni: The Passengers Photographic Works Essays by Pierre-Andr» Lienhard and Stefan Banz.
These works by photographer and videographer Marco Poloni consist of photo storyboards for films never made. Haunting black-and-white images and accompanying captions suggest noir danger, but in fact, all action, if indeed there is any, takes place outside the frame. The viewer is thus forced into the role of a confidant, an unwilling party to a conspiracy. In this way, Poloni plays with our certainty about the alleged ability of a picture to be representative of reality. The frame is the ultimate arbiter of the story.
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