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Andrew Moore: Detroit zerlegt von Philip Levine (2010, Hardcover) WIE NEU
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Andrew Moore: Detroit zerlegt von Philip Levine (2010, Hardcover) WIE NEU
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Andrew Moore: Detroit zerlegt von Philip Levine (2010, Hardcover) WIE NEU

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Andrew Moore: Detroit Disassembled by Philip Levine (2010, Hardcover) LIKE NEW
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    Hinweise des Verkäufers
    “Andrew Moore: Detroit Disassembled by Philip Levine (2010, Hardcover) LIKE NEW”
    ISBN
    9788862081184

    Über dieses Produkt

    Product Identifiers

    Publisher
    Damiani
    ISBN-10
    8862081189
    ISBN-13
    9788862081184
    eBay Product ID (ePID)
    80515641

    Product Key Features

    Book Title
    Andrew Moore: Detroit Disassembled
    Number of Pages
    136 Pages
    Language
    English
    Topic
    United States / MidWest / East North Central (Il, in, Mi, Oh, Wi), Buildings / General, Individual Photographers / Monographs, Subjects & Themes / Architectural & Industrial
    Publication Year
    2010
    Illustrator
    Yes
    Genre
    Travel, Architecture, Photography
    Author
    Philip Levine
    Format
    Hardcover

    Dimensions

    Item Height
    0.8 in
    Item Weight
    56.1 Oz
    Item Length
    10.9 in
    Item Width
    13.9 in

    Additional Product Features

    Intended Audience
    Trade
    Reviews
    Andrew Moore's 'Detroit Disassembled' (Damiani) concentrates primarly on the factories that formerly drove the economy, now falling apart or gone back to nature, like the Ford office whose floor has grown over with moss., Although there is plenty of rubble in "Detroit Disassembled," Mr. Moore's work usually escapes the narrow constraints of the genre. His large-scale prints--some up to 5 feet by 6 feet -- are sumptuous and painterly, rich in texture and color: the emerald carpet of moss growing on the floor of Henry Ford's office at the Model T plant, the pumpkin-orange walls of a vandalized classroom at Cass Technical High School, the crimson panels of a former F.B.I. shooting range. Photos like those of the enormous rolling hall at Ford's River Rouge plant and a sunset over the Bob-Lo Island boat dock were inspired, Mr. Moore said, by 19th-century American landscape painters like Frederic Church and Martin Johnson Heade., Although there is plenty of rubble in Detroit Disassembled, Mr. Moore s work usually escapes the narrow constraints of the genre. His large-scale prints some up to 5 feet by 6 feet are sumptuous and painterly, rich in texture and color: the emerald carpet of moss growing on the floor of Henry Ford s office at the Model T plant, the pumpkin-orange walls of a vandalized classroom at Cass Technical High School, the crimson panels of a former F.B.I. shooting range. Photos like those of the enormous rolling hall at Ford s River Rouge plant and a sunset over the Bob-Lo Island boat dock were inspired, Mr. Moore said, by 19th-century American landscape painters like Frederic Church and Martin Johnson Heade., Although there is plenty of rubble in "Detroit Disassembled," Mr. Moore's work usually escapes the narrow constraints of the genre. His large-scale prints-some up to 5 feet by 6 feet - are sumptuous and painterly, rich in texture and color: the emerald carpet of moss growing on the floor of Henry Ford's office at the Model T plant, the pumpkin-orange walls of a vandalized classroom at Cass Technical High School, the crimson panels of a former F.B.I. shooting range. Photos like those of the enormous rolling hall at Ford's River Rouge plant and a sunset over the Bob-Lo Island boat dock were inspired, Mr. Moore said, by 19th-century American landscape painters like Frederic Church and Martin Johnson Heade.
    Synopsis
    No longer the Motor City of boom-time industry, the city of Detroit has fallen into an incredible state of dilapidation since the decline of the American auto industry after the Second World War. Today, whole sections of the city resemble a war zone, its once-spectacular architectural grandeur reduced to vacant ruins. In Detroit Disassembled , photographer Andrew Moore records a territory in which the ordinary flow of time-or the forward march of the assembly line-appears to have been thrown spectacularly into reverse. For Moore, who throughout his career has been drawn to all that contradicts or seems to threaten America's postwar self-image (his previous projects include portraits of Cuba and Soviet Russia), Detroit's decline affirms the carnivorousness of our earth, as it seeps into and overruns the buildings of a city that once epitomized humankind's supposed supremacy. In Detroit Disassembled , Moore locates both dignity and tragedy in the city's decline, among postapocalyptic landscapes of windowless grand hotels, vast barren factory floors, collapsing churches, offices carpeted in velvety moss and entire blocks reclaimed by prairie grass. Beyond their jawdropping content, Moore's photographs inevitably raise the uneasy question of the long-term future of a country in which such extreme degradation can exist unchecked., Detroit at the end of the assembly line: an astonishing record of urban ruin No longer the Motor City of boom-time industry, the city of Detroit has fallen into an incredible state of dilapidation since the decline of the American auto industry after the Second World War. Today, whole sections of the city resemble a war zone, its once-spectacular architectural grandeur reduced to vacant ruins. In Detroit Disassembled , photographer Andrew Moore records a territory in which the ordinary flow of time-or the forward march of the assembly line-appears to have been thrown spectacularly into reverse. For Moore, who throughout his career has been drawn to all that contradicts or seems to threaten America's postwar self-image (his previous projects include portraits of Cuba and Soviet Russia), Detroit's decline affirms the carnivorousness of our earth, as it seeps into and overruns the buildings of a city that once epitomized humankind's supposed supremacy. In Detroit Disassembled , Moore locates both dignity and tragedy in the city's decline, among postapocalyptic landscapes of windowless grand hotels, vast barren factory floors, collapsing churches, offices carpeted in velvety moss and entire blocks reclaimed by prairie grass. Beyond their jawdropping content, Moore's photographs inevitably raise the uneasy question of the long-term future of a country in which such extreme degradation can exist unchecked.
    LC Classification Number
    F574.D48A26 2010
    Text by
    Levine, Philip

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