Deutsch
English
MY LAST SIGNED COPY!
"Photographer Michael WOLF, best known for his large-format architectural shots from Hong Kong ('Architecture of Density', 2012) and Chicago ('The Transparent City', 2008) has found his photographic theme with the Hong Kong street life. But with 'A Series of Unfortunate Events' (ASOUE) he completed the photographic genre street photography.
In fact, however, the series 'Architecture of Density' and 'The Transparent City' are part of an ever-expanding body of work that deals with the conditions of modern urban life under the title 'Life in Cities'.
With his photo book 'Tokyo Compression' showing depressing impressions from the Tokyo subway system, the photographer also raises the question: how are photographers allowed to, should or must today deal with the public?
There can be no conclusive answer, but it is clear that the question must be completely renegotiated against the backdrop of unleashed private flood of images being disseminated via the Internet and automated image production by surveillance cameras and robotic cams.
This is even more true after Google Street View launched a new level of remeasurement of the world.
With his 'Street View' work begun parallel to 'Tokyo Compression', Michael WOLF also picks up on this theme and reinterprets the genre of 'street photography' in a highly unconventional way, using the 'inexhaustible' image pool of the 'Google' tool as Uses raw material for your own pictures.
With the camera in front of the screen, he gets out of the automatically generated, authorless 'Google' screens 'his' pictures out. Extreme cuts and geographic overlays of the software, which are actually intended to serve orientation, lead to recordings that are as irritating and worrying as the underground portraits from Tokyo." (publisher's text, © Hannes WANDERER, 2010)
"Photographer Michael WOLF, best known for his large-format architectural shots from Hong Kong ('Architecture of Density', 2012) and Chicago ('The Transparent City', 2008) has found his photographic theme with the Hong Kong street life. But with 'A Series of Unfortunate Events' (ASOUE) he completed the photographic genre street photography.
In fact, however, the series 'Architecture of Density' and 'The Transparent City' are part of an ever-expanding body of work that deals with the conditions of modern urban life under the title 'Life in Cities'.
With his photo book 'Tokyo Compression' showing depressing impressions from the Tokyo subway system, the photographer also raises the question: how are photographers allowed to, should or must today deal with the public?
There can be no conclusive answer, but it is clear that the question must be completely renegotiated against the backdrop of unleashed private flood of images being disseminated via the Internet and automated image production by surveillance cameras and robotic cams.
This is even more true after Google Street View launched a new level of remeasurement of the world.
With his 'Street View' work begun parallel to 'Tokyo Compression', Michael WOLF also picks up on this theme and reinterprets the genre of 'street photography' in a highly unconventional way, using the 'inexhaustible' image pool of the 'Google' tool as Uses raw material for your own pictures.
With the camera in front of the screen, he gets out of the automatically generated, authorless 'Google' screens 'his' pictures out. Extreme cuts and geographic overlays of the software, which are actually intended to serve orientation, lead to recordings that are as irritating and worrying as the underground portraits from Tokyo." (publisher's text, © Hannes WANDERER, 2010)
- Ed(s)/Author(s)
- Marc Feustel, Steven Harris
- Book design
- Hannes WANDERER
- Format
- HC (no dust jacket, as issued), 16 x 21 x 1,5 cm., 72 pp., color ills., Ltd. to 500 copies