This volume surveys the early days of Ralph Gibson’s career in San Francisco, Los Angeles and New York, from 1960 to 1970. Gibson’s San Francisco years (1960–63) saw the photographer testing out his sensual, meditative style, inspired by street photographers such as Robert Frank (whose assistant he would later become). Photographs from this phase include shots of pool halls and shop windows. By 1963, Gibson was eager to begin a career as a professional photographer, and he returned to Los Angeles to find work. He recalls, “I would show my portfolio to potential clients and would hear the same words over and over again: ‘This stuff belongs in museums, kid, it’s not commercial....’ Well, I guess they were right.” Gibson’s Los Angeles images (1963–66) include his Sunset Strip photographs, which led to the first of many monographs. It was also around this time that Gibson was commissioned to photograph the press conference for the Beatles’ Revolver album, and informal shots of the mop tops are included in this chapter. The third section of the book is devoted to Gibson’s early New York years (1967–70), with several nudes and street scenes.
BOOK FORMAT Hardcover, 8.5 x 12.75 in. / 112 pgs / 96 duotone.
PUBLISHING STATUS PUB DATE 8/31/2012 Active
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2012 p. 81
PRODUCT DETAILS ISBN 9791090294059TRADE LIST PRICE: $49.95 CDN $60.00
AVAILABILITY Awaiting stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Damiani. Foreword by Paolo Cermasi. Text by Ralph Gibson.
With the intimacy that has become his trademark during a photographic practice covering more than 40 years, Ralph Gibson now captures Brazil in all its carnivalesque splendor. Here are the vibrant colors, both natural and manmade, of the tropics; the beating sun on the beaches and the beating drums of a joyous band; and, of course, the faces and figures of that country's famously exhibitionistic women. Gibson's photographs have often focused, with unusual sharpness, on a single geometric element (the corner of a room, for instance) or a single human gesture (the curve of a hand). Now his remarkable eye picks up on the neck of a guitar, framed against the white sands of the beach, a reminder of his exploration of the three dimensional within photography. The chiaroscuro of shadow and white linen evokes his previous black-and-white portraits. And a portrait of a man whose head is obscured by a soccer ball, a witty quote of Magritte, connects with Gibson's lifelong interest in Surrealism. The art, music and culture of Brazil is growing increasingly popular around the world, and those who want a master's look at this endlessly fascinating land will enjoy this collection of photographs, all of which are published for the first time here.