Wake
First edition of Wake by Adam Jeppesen (2008)
First impression
Small format hardback in as new condition
Please note that the book is brand new and unread and has been removed from shrinkwrap only to be photograph, however, there is some very minor toning to extremities of pages
Otherwise, pages clean, binding firm
Published by Steid
About
Jeppesen’s large-format photographs are rooted in the tradition of German documentary with its tendency toward classification. This is an impressionistic take on the visual index — one that seeks out the spontaneous and the discarded, the undefined and the uncertain.
William Pym said, “The work of Adam Jeppesen invites thoughts about the origins and the future of the documentary photographer – perhaps “social photographer” is the word I’d rather use – the kind of artist who does not ostensibly stage the world, but prefers to watch it, then frame it as it is. The only act of manipulation, the only insertion of opinion, comes as the artist’s eye decides what will fit inside the rectangle of the aperture; the rest is already there.”
Original: $161.05
-65%$161.05
$56.37
Description
First edition of Wake by Adam Jeppesen (2008)
First impression
Small format hardback in as new condition
Please note that the book is brand new and unread and has been removed from shrinkwrap only to be photograph, however, there is some very minor toning to extremities of pages
Otherwise, pages clean, binding firm
Published by Steid
About
Jeppesen’s large-format photographs are rooted in the tradition of German documentary with its tendency toward classification. This is an impressionistic take on the visual index — one that seeks out the spontaneous and the discarded, the undefined and the uncertain.
William Pym said, “The work of Adam Jeppesen invites thoughts about the origins and the future of the documentary photographer – perhaps “social photographer” is the word I’d rather use – the kind of artist who does not ostensibly stage the world, but prefers to watch it, then frame it as it is. The only act of manipulation, the only insertion of opinion, comes as the artist’s eye decides what will fit inside the rectangle of the aperture; the rest is already there.”