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| | | | Gunnar Smoliansky: HandsEdited by Greger Ulf Nilson.
This book contains more than 400 pictures of Swedish photographer Gunnar Smoliansky’s (born 1933) hands—each a spontaneous composition crafted by the photographer in his traditional darkroom.Some pictures are deceptively simple, hardly recognizable abstractions; others are realistic, revealing even the texture of Smoliansky’s palm; while others still are almost violent inky overlappings. By bypassing the tool of the camera and reinterpreting the photogram, Smoliansky revisits one of the earliest means of photographic picture-making and creates a gestural space between photography and drawing. I don’t know what it was that made me start on these pictures, he ponders. Always after the end of the working day … What I did was to open a box in darkroom lighting and take out some papers between my thumb and my index finger. Then the work continued in ordinary room lighting. I numbered the papers, all of which are presented here in the book.
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|  | STATUS: Forthcoming | 2/6/2024 This title is not yet published in the U.S. To pre-order or receive notice when the book is available, please email orders @ artbook.com | |
| | | |  | STEIDL/GUNISBN: 9783958293311
USD $85.00 | CAN $120Pub Date: 2/6/2024
Forthcoming
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|  | STEIDL/GUNISBN: 9783958293328
USD $50.00 | CAN $69.95Pub Date: 2/6/2024
Forthcoming
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FORMAT: Slip, hbk, 8.75 x 11 in. / 440 pgs / 401 b&w.
LIST PRICE: U.S. $85.00
LIST PRICE: CANADA $120
ISBN: 9783958293311
PUBLISHER: Steidl/GUN
AVAILABLE: 2/6/2024
DISTRIBUTION: D.A.P.
RETAILER DISC: TRADE
PUBLISHING STATUS: Forthcoming
AVAILABILITY: Awaiting stock
TERRITORY: NA ONLY | D.A.P. CATALOG: FALL 2017 Page 104 | PRESS INQUIRIES
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Fax: (212) 627-9484
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| Gunnar Smoliansky: Hands Published by Steidl/GUN.
Edited by Greger Ulf Nilson. This book contains more than 400 pictures of Swedish photographer Gunnar Smoliansky’s (born 1933) hands—each a spontaneous composition crafted by the photographer in his traditional darkroom. Some pictures are deceptively simple, hardly recognizable abstractions; others are realistic, revealing even the texture of Smoliansky’s palm; while others still are almost violent inky overlappings. By bypassing the tool of the camera and reinterpreting the photogram, Smoliansky revisits one of the earliest means of photographic picture-making and creates a gestural space between photography and drawing. I don’t know what it was that made me start on these pictures, he ponders. Always after the end of the working day … What I did was to open a box in darkroom lighting and take out some papers between my thumb and my index finger. Then the work continued in ordinary room lighting. I numbered the papers, all of which are presented here in the book.
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