Klein, William : Roma. : Album petite planete 3, Editions du Seuil, Paris , 1959. Gr.-8° Bestellnr: 53299
Schwarzes OLeinen, innen sehr gut erhalten, eines der gesuchtesten Fotobücher des amerikanischen Starfotografen in besterhaltener Erstausgabe.Klein hat Layout,Text und Fotos für den vorliegenden Band geliefert. Ohne den Umschlag. William Klein - biography Born in New York, 1928 Up until recently, it was thought that the snapshot-aesthetic of American photography began with Robert Frank in the 50s and developed to include Lee Friedlander, Diane Arbus and Garry Winogrand. However, it has now become evident that William Klein stands as the form‘s most accomplished innovator. Klein grew up in New York. He spent two years in the US Army, stationed in Germany and France, and after his discharge he settled in Paris to become a painter. Working briefly with Fernand Leger, Klein went on to exhibit in Italy, where he painted a series of abstract murals for Italian architects. As an artist using photography, as one says today, he set out to re-invent the photographic document. In 1954, he applied these experiments to his native New York: familiar, yet - after living for 6 years in Paris - oddly foreign. The result was Life is Good and Good for you in New York: Trance Witness Revels. His book of 1956 (re-issued 1995), a gritty street level view of New York and its denizens, unlike anything American photography has seen before. The book was published in Europe (no American publisher would touch it) and thus little known in the US at the time - except, paradoxically, by almost every photographer. Frank‘s book of 1958, The Americans, with its sedate, black and white view of American desolation sprang from a poetic, elegiac, essentially European sensibility. Klein‘s unflinching in-your-face images which had been published two years before, presaged it while relying on a much harder aesthetic. Using fast film, high contrast, grain blur, a wide angle lens and heretical framing, he compounded accidents and abstraction. He designed the book himself, half Dada, half nightmare, often uncomfortable, always new. As Klein describes it, ‘I was a make believe ethnographer: treating New Yorkers much as a museum expedition would treat Zulus - in search of the straightest of straight documents, the rawest snapshot, the zero degree of photography.‘ Along with his street-level assaults, Life is Good and Good for You in New York contained captions with a Beat poet stream of consciousness narrative. To describe a shot of a Manhattan office building, he wrote ‘Skyscraper on the island. Hockshop mess of landscape, so typical, l love it. Great and generous, nothing sacred, nothing spared, anything goes . . . Here you realize that not only is New York America but it is All America . . . the first Frontier Town, the original, the Eternal Boom Town, wilder than the Wildest West, more Texan than Texas.‘ Photo books on Rome, Moscow and Tokyo followed, each with a different approach, pushing to the limit what photography could reveal. If Klein‘s nature was Dada, his fascination with typography, urban junk and the absurd presaged Pop. If he had a creative counterpart it would be Man Ray. And like Man Ray, Klein photographed fashion, where with countless innovations, he revolutionzed the medium. His influence is evident even today. From 1955 to 1965 Klein worked for Vogue, thereby financing his other projects - books and films. From 1965 to the early 80s, he abandoned photography to concentrate on directing movies - as ground-breaking as his photographs. They include Broadway By Light (possibly the first Pop Film), the classic offbeat features Who are you Polly Maggoo? and Mr. Freedom, the corrosive documentaries Muhammad Ali the Greatest and The Little Richard Story up to his 1999 masterwork The Messiah: an oratorio for the end of the century. Klein‘s major new film, Le Messie, is currently showing at selected cinemas around the world. Its American launch coincides with a retrospective season of Klein‘s films at the prestigious Harvard University Cinematèque, from 25 February, 2000. 360: desire (sell through) feature article: William Klein: From Painting to Photography, Fashion to Film by Sophie Berrebi selected resumé SOLO EXHIBITIONS Grand Manege, Moscow, 1999 Scottish National Gallery, Edinburgh, Scotland, 1999 Fnac, Paris, 1999 Jane Jackson Gallery, Atlanta, USA, 1999 Pushkin Museum, Moscow, 1997 Saint-Gervais Center, Geneva, Switzerland, 1997 National Foundation, Madrid, Spain, 1997 Deichtor Hallen, Hamburg, Germany, 1997 Howard Green Gallery and 292, New York, 1996 Caixa Foundation, Barcelona, Spain, 1996 Walker Art Center, Minneapolis, USA, 1996 Maison Europeene De La Photographie, Paris, 1996 Museum Of Modern Art, San Francisco, 1995 Fnac, Paris, Marseille And Travelling, 1995 Zabriskie, Paris, 1994 Hamiltons, London, 1994 International Center of Photography (Icp) New York, 1994 Presidential Palace, Prague, Czechoslovakia, 1994 Printemps De La Photo, Cahors, 1993 Morsbroich Museum, Leverkasen, 1993 Beaux Arts, Almeria, Spain, 1992 Howard Greenberg, New York, 1992 Stadts Museum, Munich, Germany, 1992 Hamiltons, London, 1991 Exposure Gallery, Parco, Tokyo, 1991 Hasselslad Center, Göteborg, Sweden, 1990 National Library, Turin, Italy, 1990 Volkwang Museum, Essen, Germany, 1990 Zabriskie, New York, 1990 Finnish Film Archives, Helsinki, Finland, 1989 Photographers‘ Gallery, London, 1989 Museum Of Moving Images, London, 1989 Musée d‘Elysée, Lausanne, France, 1988 Osaka Museum, Osaka, Japan, 1988 Ludwig Museum, Cologne, Germany, 1988 Museum Of Photographic Arts, San Diego, California, USA, 1987 Printemps Ginza, Tokyo, Japan, 1987 Museum Of Modern Art, Paris, 1987 Victoria And Albert Museum, London, 1986 Fotofest, Houston, Texas, USA, 1986 Corloran Gallery, Washington, USA, 1985 3 Castles In Drome, France, 1985 Municipal Galleries, Zagreb And Belgrade, Yugoslavia, 1984 Centre Georges Pompidou, Paris, 1983 Municipal Gallery, Albi, France, 1982 International Festival, Malmö, 1982 Light Gallery, New York, 1981 Zabriskie, Paris, 1981 American Centre, Paris, 1981 Moma, New York, 1980 National Foundation of Photography, Lyon, France, 1979 SELECTED BIBLIOGRAPHY Willaim Klein, Agfa-Erfurth Press, Braus Edition, Heidelberg, 1993 Torino 90, photographs and design by William Klein. Text by Guy Mandery, Frederico Motta, Milan, Italy, 1990 Close Up, text, photographs and design by William Klein, Braus Edition, Heidelberg; Thames & Hudson, London, Paris, New York, 1989 The Films of William Klein, text by Bruce Jenkins and Johnathan Rosenbaum, Walker Art Center, Minneapolis, 1988 William Klein, Pacific Press service, Tokyo, 1987 William Klein; ‘photo-poche‘, text by Christian Caujole, Centre National de la Photographie, Paris, 1985 William Klein, text by Carole Nagger, photographs and design by William Klein, Centres Georges Pompidou, Editions Herscher, Paris, 1983 William Klein, text by Alain Jouffroy, Editions Fabbri, ‘I Grandi Fotogrfi‘, and Editions Filipacchi, Paris, 1982 William Klein: Photographs, etc., text by John Heilpern, Aperture, New York, 1981 New York 54-55, portfolio, text by Alain Jouffroy, Paris, JM Bustamante, and Bernard saint-Genès, 1978 Mister Freedom, screenplay, photographs by Jürgen Vollmar, Jeanne and William Klein. Editions Eric Losfeld, Paris, 1970 Moscow, text, photographs and layout by William Kein, Zokeisha Publications, Tokyo; Silvana, Milan; Editions Delpire, Paris; Crown, New York, 1964 Tokyo, text, photographs and layout by William Klein, Zokeisha Publications, Tokyo; Silvana, Milan; Die Zeit, Hamburg; Editions Delpire, Paris; Crown, New York, 1964 Rome, text, photographs and layout by William Klein, Editions du Seuil, Paris; Feltrinelli, Milan, 1958-1959 New York, text, photographs and layout by William Klein, Editions du Seuil, Paris; Feltrinelli, Milan; Vista Books, London, 1956 SELECTED FILMS Le Messie (The Messiah), 2000 Fotographie, Fotokunst, Vintage photography , Fotografie
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