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Tir a'Mhurain is a collection of photographs that reflects the
impressions gathered by Paul Strand and his wife Hazel during their
3-month visit to the Hebrides in 1945. Juxtaposing people and
landscape, Strand's beautifully sequenced photographs depict the
perfect complicity he saw between nature and habitation in their
wild terrain. Whether it is a view of the rocks and the sea or a
grinning shepherd boy; scuddling clouds hanging over seaside house
or the wrinkled face of an old lady framed by a knitted shawl,
Strand's images transcend the ephemeral. This extended portrait
captures the essence and complexity of a singular place. This is a
true masterpiece of photography.
The Aperture Masters of Photography Series has become a touchstone
of Aperture's longstanding commitment to introducing the history
and art of photography to a broader public. Each volume provides an
ongoing comprehensive view of the artists who have helped shape the
medium. Initially presented as the History of Photography Series in
1976, the first volume featured Henri Cartier-Bresson and was
edited by legendary French publisher Robert Delpire, who cofounded
the series with Aperture's own Michael Hoffman. Twenty volumes have
been published in total, each of them devoted to an image-maker
whose achievements have accorded them vital importance in the
history of photography. Each volume presents an evocative selection
of the photographer's life's work, introduced with a foreword by a
notable curator or historian of each artist. The series will be
relaunched in Fall 2014, beginning with books on Paul Strand and
Dorothea Lange, elegantly updated and refreshed for today's
photography-hungry audiences, and introducing new, image-by-image
commentary and chronologies of the artists' lives for each of the
previously published titles. The series will also include entirely
new titles on individual artists. The Aperture Masters of
Photography Series is an unparalleled library of both historical
and contemporary photographers, and serves as an accessible
compilation for anyone studying the history of photography.
T&HFL12 After a lifetime of working on a series of
“collective portraits” in far-flung places such as Mexico;
Ghana; Italy; Tir a’Mhurain, Scotland; and his adoptive country,
France, an aging Paul Strand decided to concentrate on still lifes
and the stony beauty of his own garden at Orgeval, France, as a
site in which to distill his discoveries as a photographer. The
work that constitutes The Garden at Orgeval is marked by close and
careful study of the forms and patterns within nature—of tiny
buttonshaped flowers, cascading winter branches, and fierce snarls
of twigs. While the images bear the same directness and precise
vision that is quintessentially Strand, the work also reflects a
growing metaphorical turn. Renowned photographer Joel
Meyerowitz—whose own affinity toward Strand’s Orgeval series
stems from a lifetime of photographing in different genres and
ultimately returning to nature as an enduring subject—will select
the photographs in the book, and respond to them in an accompanying
personal essay, reflecting on issues, including the contemplation
of one’s garden and growing old. Beautifully produced in a modest
size, in the manner of a volume of poems, this book’s task is to
do credit to Strand’s final work, both as an individual and as a
key figure in Modernist photography.
Seven-year-old Paul strolled through the orchard, sampling the
antique apples that surrounded the abandoned farm house. He
wondered how long he would live in this place. After all, he had
already resided in more places than a kid his age should have, and
would end up attending twenty schools in nearly as many locations.
Paul's experiences while growing up in the Pacific Northwest
include adventure, humor and a portrayal of how life was, "back
then." Our SeaTac International Airport was a forest where kids
watched bulldozers clear runways. Well traveled hills that now lead
to freeways are the ones where Paul sped his soapbox racers. And
because of his family's nomadic lifestyle; he watched his dad build
their tiny home of whatever their patch of forest provided, lived
in a 4,000 trailer house community at the Hanford Nuclear
Reservation, spent time at the infamous Briscoe Boys School and
lived in a house built by the kindly brother-in-law of Dinah Shore
. Readers are guaranteed to enjoy this sometimes poignant,
sometimes sad, sometimes humorous but always intriguing account of
the adventurous life lived "When Grandpa Was a Kid."
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