Possession
About Possession
In Possession, we see images where Langer has turned his focus away from his interest in an individual's personality in favour of a universal identity. We see anonymous subjects and inanimate objects appearing in compositions that suggest something supernatural and eerie. Langer plays with what's real and what isn't, using puppets and mannequins and humans to create a fine thread between reality and imaginary. Sometimes his images create a disturbing feeling in the viewer.About Jason Langer
American photographer Jason Langer (b. 1967) is best known for his psychological and noirish visions of contemporary urban life. Secret City, his first monograph published by Nazraeli Press, depicts night and dusk scenes of various cities with “carefully crafted compositions reminiscent of the symbolist photographers, and swathes of meticulously printed deep black tones characteristic of the gelatin silver process…as much Hopper and Raymond Chandler as Steichen” (Bomb Magazine).
Over the past two decades Langer has developed a photographic language which has been described variously as “cinematic” and “poetic”, “contemplative” and “iconographic”, “haunting” and “romantic”.Related links
More books by Jason Langer here Also, more books by Nazraeli Press hereOriginal: $134.21
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Description
About Possession
In Possession, we see images where Langer has turned his focus away from his interest in an individual's personality in favour of a universal identity. We see anonymous subjects and inanimate objects appearing in compositions that suggest something supernatural and eerie. Langer plays with what's real and what isn't, using puppets and mannequins and humans to create a fine thread between reality and imaginary. Sometimes his images create a disturbing feeling in the viewer.About Jason Langer
American photographer Jason Langer (b. 1967) is best known for his psychological and noirish visions of contemporary urban life. Secret City, his first monograph published by Nazraeli Press, depicts night and dusk scenes of various cities with “carefully crafted compositions reminiscent of the symbolist photographers, and swathes of meticulously printed deep black tones characteristic of the gelatin silver process…as much Hopper and Raymond Chandler as Steichen” (Bomb Magazine).
Over the past two decades Langer has developed a photographic language which has been described variously as “cinematic” and “poetic”, “contemplative” and “iconographic”, “haunting” and “romantic”.
