| Auteur | Osamu Kanemura |
|---|---|
| Pages | 102 |
| Gesigneerd | Yes |
| ISBN | 4309904408 |
| Uitgever | Osiris Co |
| Publicatiedatum | 2001 |
| Publicatieplaats | Tokyo |
| Taal | Japans |
| Editie | First edition |
| Binding | unknown_binding |
| Conditie boek | CollectibleVeryGood |
| Conditie beschrijving | Very nice copy including fine dustjacket and obi (bellyband); signed by Osamu Kanemura; light wear to obi else fine |
| Conditie omslag | Fine |
| Afmeting (cm hxb)) | 22x28 |
FROM THE PUBLISHER:"Graphically dense, darkly printed and devoid (for a non-Japanese speaker) of interpretative signs or text, Osamu Kanemura's celebrated 'Spider's Strategy' shows Tokyo as a city of constant collisions, confusions, and expansion. Ever present is a tangle of overhead wires, suggesting a spider web spreading throughout the city, or the connective tissues of an organic and unguided growth."High gloss laminated cardboard covers with the title and artist's name stamped, appearing identical to the dust jacket. This book measures 8 ¾ x 11 inches. It has 102 pages with 80 black-and-white photos (and 3 pages of silver reflective paper – a palette cleanser of sorts). It features text by Arata Isozaki and a short bio and exhibition history on the dust jacket and is designed by Yukimasa Okumaura.
All photography books
Spider's Strategy
€0.00
Signed copy incl. obi. Osamu Kanemura's photography in Spider's Strategy borrows from the tradition of the Becher's juxtapositional comparison and contrast of form, but does so at a much closer perspective. Here, it feels as though the Artist is nearly trapped under the complex maze of the urban Tokyo infrastructure. Kanemura apparently took these photos as he wound through the city, delivering newspapers to support himself. Is he the spider of the title, attempting to survive the overwhelming and alienating web of man's own creation? The near-claustrophobic visuals of sprawling and interconnected telephone, power lines, and buildings suggests so. This vision of Tokyo is "a city so replete with wires and signs that the visual construction of Kanemura's exuberant imagery describes a spacial complexity to rival the best of Jackson Pollock" (Parr & Badger, "The Photobook, A History, Vol. II").
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