TJ : Johannesburg photographs, 1948-2010
著者
書誌事項
TJ : Johannesburg photographs, 1948-2010
Contrasto, 2010
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
"TJ/Double negative is a joint project by photographer David Goldblatt and the writer Ivan Vladislavić, comprising a book of photographs and a novel. In TJ, Goldblatt presents 270 images drawn from more than sixty years of photographing Johannesburg and its people. Vladislavić's novel Double negative was written specially to accompany the images. Together the two volumes create a resonant conversation between image and text."--Slipcase
Sold together with Double negative (Novel) by Ivan Vladislavić.
In cardboard slipcase
内容説明・目次
内容説明
This publication is the product of the collaboration of two of the finest creative individuals at work in South Africa today, a photographer and a novelist, on a project that is the city of Johannesburg. 'Johannesburg is a fragmented city. It is not a place of smoothly integrated parts. And it has a name that does not roll easily off the tongue.' So begins David Goldblatt's introduction to TJ, a book of photographs of Johannesburg. Commencing in the 1950s, his masterful lens probes, documents and comments on life over six decades in this incomparable African city. Selected from a massive body of work, this superb distillation presents a unique pictorial history of the city. A new novel by Ivan Vladislavic partners the book of photographs. In Double Negative, a young man in Johannesburg receives an induction into the intricate nature of photography and artistic representation. The novel traces the young man as he heads into his career that takes him overseas and back, developing in the process an ever widening perspective on not only the social and political change in the country but also on questions to do with observation and the observing subject. It brings into sharp focus the history of South Africa's recent past and the difficulty of imaging and re-imagining it.
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