Product details:
| ISBN13: | 9783958295605 |
| ISBN10: | 3958295606 |
| Binding: | Paperback |
| No. of pages: | 360 pages |
| Size: | 330x248 mm |
| Language: | English |
| Illustrations: | 169 illustrations, 160 in colour |
| 0 |
Category:
Angela Grauerholz: La femme 100 t?tes / The Hundred Headless Woman
Publisher: Steidl
Date of Publication: 12 December 2024
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Publisher's listprice:
GBP 70.00
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Long description:
Apprehending the faces image becomes a mode of possession. We are surrounded by the image of the womans face, the obsession of the portrait and the covergirl alike. The face is what belongs to the other. It is unavailable to the woman herself. - Susan Stewar
La femme 100 t?tes / The Hundred Headless Woman presents over 150 portraits of 100 womensome acquaintances, some strangerstaken by Angela Grauerholz over a 30-year period and presented for the first time in this book. Collaging diverse photos made with various cameras and technologies with text fragments from a range of mostly female authors, Grauerholz creates a hybrid between a magazine and book that forms a complex portrait of women.
The title La femme 100 t?tes is borrowed from Max Ernsts 1929 Surrealist collage novel of the same name, in which he combined cut-up and reassembled nineteenth-century illustrations with bizarre captions. Grauerholz welcomes the double entendre of Ernsts titlewhen read aloud in French it means both the hundred-headed woman and the headless womanto create a sense of womanhood intricately individual and violently anonymous. The intentionally quotidian nature of Grauerholzs photos blurs the class distinctions between images in an art context, in a printed publication and on the Internet, and tests the changing ways we encounter and judge photography.
La femme 100 t?tes / The Hundred Headless Woman presents over 150 portraits of 100 womensome acquaintances, some strangerstaken by Angela Grauerholz over a 30-year period and presented for the first time in this book. Collaging diverse photos made with various cameras and technologies with text fragments from a range of mostly female authors, Grauerholz creates a hybrid between a magazine and book that forms a complex portrait of women.
The title La femme 100 t?tes is borrowed from Max Ernsts 1929 Surrealist collage novel of the same name, in which he combined cut-up and reassembled nineteenth-century illustrations with bizarre captions. Grauerholz welcomes the double entendre of Ernsts titlewhen read aloud in French it means both the hundred-headed woman and the headless womanto create a sense of womanhood intricately individual and violently anonymous. The intentionally quotidian nature of Grauerholzs photos blurs the class distinctions between images in an art context, in a printed publication and on the Internet, and tests the changing ways we encounter and judge photography.
