Out of the Corner of the Eye. Writings on Photography.
Hero-Limit| N° d'inventaire | 22139 |
| Format | 11.5 x 18 |
| Détails | 218 p., paperback. |
| Publication | Geneva, 2019 |
| Etat | Nine |
| ISBN | 9782889550227 |
This collection brings together the texts that Nicolas Bouvier wrote on photography between 1965 and 1996, taken from prefaces, press articles, introductions to exhibition catalogs, etc. Among them, some also relate his activity as an "image researcher-tracker", which was his livelihood for nearly thirty years. Photographer at the beginning (by necessity), portraitist (by accident), chronicler ("aliboron": photography is a constant in the career of the travel writer. Nicolas Bouvier is interested in photography because he maintains a passionate relationship with the history of prints. The images he loves never belong to "great classical painting but always to popular art. In the texts that make up this collection, there is much talk of his trial and error: the important thing for the writer is to develop an aesthetic of erasure and then to "forge an iconographic memory." He learned from his many travels and tireless research in libraries around the world. In addition to his own photographic work, Nicolas Bouvier also constantly observed and recorded the images of his contemporaries and peers. He was a friend of Jean Mohr, John Berger, Nicolas Faure, Jacques Thévoz, and an admirer of Paul Strand, Edward Weston, Ansel Adams, and Gustave Roud.
This collection brings together the texts that Nicolas Bouvier wrote on photography between 1965 and 1996, taken from prefaces, press articles, introductions to exhibition catalogs, etc. Among them, some also relate his activity as an "image researcher-tracker", which was his livelihood for nearly thirty years. Photographer at the beginning (by necessity), portraitist (by accident), chronicler ("aliboron": photography is a constant in the career of the travel writer. Nicolas Bouvier is interested in photography because he maintains a passionate relationship with the history of prints. The images he loves never belong to "great classical painting but always to popular art. In the texts that make up this collection, there is much talk of his trial and error: the important thing for the writer is to develop an aesthetic of erasure and then to "forge an iconographic memory." He learned from his many travels and tireless research in libraries around the world. In addition to his own photographic work, Nicolas Bouvier also constantly observed and recorded the images of his contemporaries and peers. He was a friend of Jean Mohr, John Berger, Nicolas Faure, Jacques Thévoz, and an admirer of Paul Strand, Edward Weston, Ansel Adams, and Gustave Roud.