内容摘要 斯蒂芬-肖尔的肖像画是一个强大而令人不安的视觉记录,突出了乌克兰幸存者的坚韧和希望。 斯蒂芬-肖尔是当今最有影响力的摄影师之一,他于2012年和2013年在目前的政治动荡之前再次前往乌克兰,访问35名幸存者,其中大多数是女性。在这些关于幸存者及其家园的照片中,肖尔通过生活细节直观地探索了他们的集体经历,并留下了一个问题,即大屠杀的历史如何影响了观众对这些肖像的接受。 这本书的200张数字彩色照片被组织起来,创造了他们个人和集体经历的亲密肖像,同时保持了他的摄影作品的不伤感的形式秩序。 简-克莱默(Jane Kramer)自1981年以来一直在撰写《纽约客》的《欧洲来信》,他的一篇文章将把这些幸存者和他们的故事放在乌克兰现代历史的背景中,特别强调犹太人在这段历史中的地位。 作为一份重要的文化文件,《乌克兰的幸存者》介于肖尔本人以《不寻常的地方》(1982年)和《美国表面》(2005年)开创的日记式彩色摄影书的传统之间,以及 "相关 "摄影师用相机见证冲突和其他历史事件的传统之间。 A powerful and haunting visual record, Stephen Shore's portraits highlight the resilience and hope of Ukraine's Holocaust survivors. Stephen Shore, one of the most influential photographers living today, traveled to the Ukraine in 2012 and again in 2013, just prior to the current political upheaval, to visit 35 survivors, most of whom are women. In the photographs of the survivors and their homes, Shore visually explores their collective experience as seen through quotidian details, and leaves open the question as to how the history of the Holocaust informs the viewer's reception of the portraits. The book's 200 digital color photographs are organized to create intimate portraits of their individual and collective experiences whilst maintaining the unsentimental formal order of his photography. An essay by Jane Kramer, who has written The New Yorker's Letter from Europe since 1981, will situate the survivors and their stories in the historical context of Ukraine's modern history with a particular emphasis in the place of Jews within that history. An important cultural document, Survivors in Ukraine sits between the traditions of the diaristic colour photobook that Shore himself pioneered with Uncommon Places (1982) and American Surfaces (2005), and that of the 'concerned' photographer using the camera as witness to conflict and other historic events.
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