BOOK FORMAT Hardcover, 9.75 x 11.75 in. / 200 pgs / 131 color.
PUBLISHING STATUS Pub Date 2/28/2013 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2013 p. 99
PRODUCT DETAILS ISBN 9783775734561TRADE List Price: $70.00 CAD $92.50
AVAILABILITY Not available
TERRITORY NA LA
Tom Hunter’s 1998 photograph “Woman Reading a Possession Order” subversively references a Vermeer painting while depicting a squatter reading an eviction notice by a window.
The meticulously composed, painterly tableaux of London-based photographer Tom Hunter (born 1965) marry the look and mood of paintings by the likes of Vermeer or Chardin with the sociopolitical concerns of twenty-first-century Britain--specifically, the London borough of Hackney, notorious for its recent gentrification and its consequent disparities between rich and poor. Hunter’s 1998 “Woman Reading a Possession Order,” which depicts a (real) squatter reading a (real) eviction notice by a window, references Vermeer’s 1657 “Girl Reading a Letter at an Open Window,” completely sabotaging all the qualities of uplift, privacy and reverie that we relish in Vermeer, with a subversiveness that is both mischievous and acute. When it was first exhibited, this powerful photograph attracted so much press attention that the eviction was withdrawn. Handsomely produced, as befits the gorgeousness of Hunter’s images, The Way Home is the second monograph on this much-celebrated photographer.
FORMAT: Hbk, 9.75 x 11.75 in. / 200 pgs / 131 color. LIST PRICE: U.S. $70.00 LIST PRICE: CANADA $92.5 ISBN: 9783775734561 PUBLISHER: Hatje Cantz AVAILABLE: 2/28/2013 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of print AVAILABILITY: Not available TERRITORY: NA LA
Published by Hatje Cantz. Text by Tom Hunter, Michael Rosen, et al.
The meticulously composed, painterly tableaux of London-based photographer Tom Hunter (born 1965) marry the look and mood of paintings by the likes of Vermeer or Chardin with the sociopolitical concerns of twenty-first-century Britain--specifically, the London borough of Hackney, notorious for its recent gentrification and its consequent disparities between rich and poor. Hunter’s 1998 “Woman Reading a Possession Order,” which depicts a (real) squatter reading a (real) eviction notice by a window, references Vermeer’s 1657 “Girl Reading a Letter at an Open Window,” completely sabotaging all the qualities of uplift, privacy and reverie that we relish in Vermeer, with a subversiveness that is both mischievous and acute. When it was first exhibited, this powerful photograph attracted so much press attention that the eviction was withdrawn. Handsomely produced, as befits the gorgeousness of Hunter’s images, The Way Home is the second monograph on this much-celebrated photographer.
