telex iran di peress gilles (14 risultati)

Hardcover. SIGNED. First edition thus, first printing. By the end of 1979, Iran was in upheaval: the revolution had ended, Khomeini was declared Supreme Leader, and the Islamic Republic of Iran was born. In November, students seized the American Embassy and with it, 52 American diplomats and citizens, and held them hostage for 444 days. On a whim and with the hope that he could better understand what was happening in Iran, photojournalist Gilles Peress flew to Teheran in December 1979 and for five weeks prowled the streets and countryside, recording his perceptions, encounters, and emotions. The images are juxtaposed with his telegrams to Magnum, his photo agency "and give an urgency not only to the photographs but to the life of one restless photojournalist living in a foreign land from day to day." A facsimile edition of the photographer's first book but in hardcover. Photographs by Gilles Peress; essay by Gholam-Hossein Sa'edi; uncredited introduction; background to events chronology. SIGNED BY PERESS on colophon page opposite the title page; no inscription. 104 pages; approx. 100 b&w illustrations; 10.75 x 15 inches. Condition: Fine hardcover with a touch of rubbing to the extremities and the publisher's bar code sticker to the back; no dj as issued. LAID-IN is a flyer from the publisher. Ref: Parr & Badger, Photobook, Vol 2, p.252-253; Roth, Book of 101 Books, p. 28; Auer, 802 Photo Books p.652; Hasselblad Center, Open Book, p.330; Le Livre de photographies, Vol. 2, p.253. Ships the next business day, wrapped in padding, in a box. Due to size and weight, international and expedited shipping may be more than quoted.

Softcover, 102 pages, very good condition; light rubbing to covers, no internal marks. Foreign shipping may be extra.

First edition. Folio sized softcover. Features an essay by Gholam-Hossein Sa'edi. A powerful group of black and white photographs taken in Iran during the time of the U.S. hostage crisis paired with his communications (telexes) between himself and the Magnum offices in Paris and New York. A close to near fine copy in wrappers with some some very minor wear and from the library of the Visual Studies Workshop with their sticker to the verso of the rear cover, a small rubberstamp and pencil notation to one page. Otherwise, a nicer than usual copy of what remains one of the more important photography books of the 1980s. (Roth 246-247, Parr & Badger v2, 252-253).

Soft cover. Condizione: Fine. 1st Edition. /Illustrated wraps soft cover.

Soft cover. Condizione: Near Fine. 1st Edition. First edition (English), first printing. Soft cover. Photographically illustrated, laminated stiff wrappers; no dust jacket as issued. Photographs by Gilles Peress. Telexed messages by Gilles Peress and Magnum staff. Essay by Gholam-Hossein Sa'edi. Includes a timeline of events, captions to the photographs, and biographies on the contributors. Designed by Gilles Peress, Tarcus, and Claude Nori, with Nan Richardson. 104 pp., with black-and-white plates throughout beautifully printed on heavy paper. 15 x 10-5/8 inches. Scarce. [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).]. Near Fine (creases to lower corners of cover, 1/8-inch abrasion to left edge of rear cover and light wear to the extremities; spine uncracked and binding tight). From Parr and Badger: "[Telex: Iran] is one of the key works in what might be termed a postmodern approach to photojournalism, where the photographer seems to critique and comment on his or her purpose whilst trying to fulfill it. Telex: Iran is exemplary in this regard. The book was shot over a five-week period from December 1979 to January 1980, during the Iran 'hostage crisis,' when Islamic fundamentalists, encouraged by the fledgling revolutionary government of the Ayatollah Khomeini, seized the United States Embassy in Tehran and held 52 Americans hostage, in protest at American refusal to return the ousted Shah for trial and certain execution. Peress traveled around Iran, trying to understand both the basis for the revolution and the mindset of a people who were demonized in the US media. His pictures portray not only his attempt to comprehend what was going on, but also the attempts of many of the Iranians he was photographing . Peress does not add traditional, explanatory captions, but instead includes excerpts from the telexes exchanged between himself and the Magnum offices in Paris and New York. These communications, which today would be cellphone text messages or e-mails, give cryptic insights into Peress's understanding of how the story was developing, as well as the practical difficulties facing any photojournalist in a confused and volatile political situation.".

Ephemera. This is not a book. An original postcard with an image by Gilles Peress from his Telex Iran project, issued as a promotional piece for "In Our Time: The World as Seen by Magnum Photographers" (Norton, 1989.) Stiff postcard, printed both sides; 6 x 4.25 inches. Condition: Fine. Will be sandwiched securely between stiff layers of cardboard and shipped the next business day. International postage may be less than quoted.

Couverture souple. Condizione: Très bon. Edition originale. Un volume broché, couverture illustrée, 378 x 266, 104 p. Edition originale américaine contemporaine de celle publiée chez Contrejour. 100 photographies en noir et blanc. Textes en anglais de Claude Nori et Gholam-Hossein Sa'edi. Petits frottements aux angles et coiffes, intérieur frais.

Softcover. Condizione: vg. Peress Gilles (illustratore). French edition. Folio. 101pp. Original b/w photo-illustrated wrappers. Text in green black and white on the front cover and spine. Signed by the photographer at the top of the title page. Here is truly one of the greatest photography books of the 20th century. "A stupendous production by Gilles Peress and Claude Nori. Peress' telexes are brilliantly reproduced at the bottom of the images and give an urgency not only to the photographs but to the life of one restless photojournalist living in a foreign land from day to day." Initial and concluding text in French by Claude Nori and Gholam-Hossein Sa'edi, respectively, with occasional captions in English. Peress was appalled by the one-sided and heavily propagandistic American coverage of the Iranian hostage crisis. With money from the National Endowment for the Arts, he flew to Iran on virtually a whim and photographed what he saw, experienced, and felt during a five-week period, from December 1979 through January 1980. Wrappers with some light rubbing and creasing to extremities, including the head and tail of the spine. Interior with light creasing at the top right corner of the first few pages. Wrappers and interior in overall very good condition.

First edition. Folio sized hardcover. Special edition. Essay by Gholam-Hossein Sa'edi. A powerful group of black and white photographs taken in Iran during the time of the U.S. hostage crisis paired with his communications (telexes) between himself and the Magnum offices in Paris and New York. A specially bound copy of the first French edition in black cloth boards with the original front and rear panels bound in and in a near fine black cloth clamshell box. No dust jacket as issued. Laid in is an original black and white gelatin silver photograph that is numbered 37 of 70 on the reverse side and is signed by Peress. A beautiful edition of this classic.

Softcover. Peress, Gilles (illustratore). Contrejour, Paris. Pages 102. Size: 37.8 x 27 cm With stronger signs of age and use in the cover and the outer margins.

First American edition, published simultaneously with the first French edition of the photojournalist's first book. Folio, original stiff photographic wrappers, photographic endpapers. Inscribed by Gilles Peress. In fine condition. Peress described his art well when he said, "I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I don't care that much anymore about "good photography." I'm gathering evidence for history, so that we remember" (U.S. News). "Telex Iran chronicles the crisis in United States-Iran relations in late 1979 and early 1980 when militant Iranian students seized the American Embassy and held its inhabitants hostage. Peress' book is oversized, graphically bold and provides numerous perspectives on an extremely sensitive political problem Along with reportage of major political events, Peress' pictures record mundane spaces, places, people and moments of Iranian life in order to emphasize the incomprehensibility and confusion of the environment before his eyes. In this way the photographer is able to visualize precisely the culture gap that made such a historical misunderstanding possible. It is a brilliant tactic" (Roth, 28) Roth 101; Open Book, 330; Parr and Badger II, 252.

Soft board, folio, 101 pp, throughout illustrated; -slightly browned, one edge bumped, slightly rubbed, very good copy to near fine copy. Martin Parr/ Gerry Badger, The Photobook: A History, Vol II. London, Phaidon, 2006. isbn 0893811181.