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Harry Gruyaert: Between Worlds

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One of the things that’s fascinating about this collection is the way every image has multiple narrative lines. Most often, there is some version of a window that separates the scene, creates dissonance, and includes reflections that bring in unexpected content. Between Worlds, Gruyaert’s new book, is a deeply wonderful new collection of images taken throughout his career. Although Cyprus is a relatively small island, its position in the East Mediterranean has always given it strategic importance beyond its size. At the heart of Cezanne lies a sense of disquiet: a homelessness haunting the vividness, an anxiety underlying the appeal of colour.

A familiar theme, but one that, across the generations, can occasionally unearth something rather powerful. Other images range from New York City to Israel to Belgium to Paris to Tokyo, Istanbul, Madrid, the Dominican Republic, Tunis. Richard Glyn Jones has cast his net wide to gather these accounts of human oddity and eccentricity, and the standard of his writing is high, with Lytton Strachey, Derek Hudson, Christopher Sykes and Ronald Knox among the authors included. There is the story from the observer, the story from the two inside the car (the looks on their faces speak volumes), the story from the four the far distance. With a historical gazetteer, chronology of major events, index, bibliography and historical and contemporary maps, this book is an invaluable companion to students or visitors to the island.

Over the past century, Cuban music has produced a seemingly endless variety of styles―rumba, mambo, son, salsa―at a dizzyingly fast rate. A Magnum photographer and renowned colorist, Harry Gruyaert has been traveling the world for over forty years. Harry Gruyaert: Between Worlds dissolves the boundaries between exterior and interior spaces, a closed world and one that is open to elsewhere. Prof David Alan Mellor investigates and explains the Anglo-American cultural contexts that drove Smith’s art, while Alex Massouras’s two themed essays, ‘Young and British’ and ‘From Motion Pictures to Flight’, explore Smith’s originality from fresh perspectives.

If we lost touch with his sense of life, they thought, we lost an essential element in our self-understanding. A penetrating analysis of the work of one of the most influential painters in the history of modern art by one of the world’s most respected art historians. Between them is another window looking to a subway platform on the far side where two nuns talk to a woman and a young boy. It is impossible, looking at this picture, to confidently place where everything in the image is in relationship to each other. These images ask not so much for our emotional response as our participation with a multifaceted narrative that is not contained within any one layer.Tipping over into photography, dissolving the boundaries between exterior and interior spaces, closed world or open world, forgetting oneself in a suspended time. Richard Smith (1931-2016) was one of the most original painters of his generation, and one of the most underrated. Hilariously funny, sometimes rather sad, but invariably interesting, this is a superbly diverting book.

A bit later, Campany continues, “For Gruyaert, making threshold images means bringing together different light levels and different color temperatures. Meet Monsieur Benoit, who appeared suddenly in Paris with a scheme for telegraphing messages across the world (or, at least, across the room) by means of electricity and the telepathic power of snails, and actually raised the money to build this extraordinary machine. His intuitive and physical relationship to places immerses the spectator in a world that borrows from the cinematic universe and from that of the painter. Dissolving the boundaries between the exterior and interior, Between Worlds offers just such a sensory immersion. The artwork here reflects both the cultural and musical depth of Cuba as well as the political influence of revolutionary communism.And we also have in the window the reflection of what is behind the photographer – trees and cars and street signs. The green walls the red chair are a compositionally wonderful pairing, the frame within a frame of the glassless window isolates the narrative outside. A good photo is a photo that says a lot of things about the place and the moment it was taken,” says Gruyaert. By continuing your navigation on this site, you accept the use of cookies, which we use to better understand your expectations and offer you services adapted to your interests.

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