Breaking Bounds

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'Outstanding... a must for anyone interested in the photography of dance' - Leica International 'Energy in the raw, miraculously caught - but only just' - The Sunday Times 'Amongst the most refined snapshots ever made' - Observer Magaziné 'Extraordinary' - The Evening Standard Lois Greenfield is recognized internationally as among the foremost photographers of dance. In 1982 she met and decided to photograph two young dancers, Dávid Parsons and Dániel Ezralow; the meeting was to lead to somé of the most inventive representations of dance in the history of photography. She used for the initial session a borrowed Hasselblad camera. Her excitement at the result was immediate. 'I loolced at the print', she says, 'and knew I was on to something'. What in fact this chance convergence of elements gave rise to was the archetypal Greenfield image: dynamic, witty, originál and full of an energy so forceful that it seems contained only by the black lines of the camera frame. Breaking Bounds is... Tovább

Fülszöveg

'Outstanding... a must for anyone interested in the photography of dance' - Leica International 'Energy in the raw, miraculously caught - but only just' - The Sunday Times 'Amongst the most refined snapshots ever made' - Observer Magaziné 'Extraordinary' - The Evening Standard Lois Greenfield is recognized internationally as among the foremost photographers of dance. In 1982 she met and decided to photograph two young dancers, Dávid Parsons and Dániel Ezralow; the meeting was to lead to somé of the most inventive representations of dance in the history of photography. She used for the initial session a borrowed Hasselblad camera. Her excitement at the result was immediate. 'I loolced at the print', she says, 'and knew I was on to something'. What in fact this chance convergence of elements gave rise to was the archetypal Greenfield image: dynamic, witty, originál and full of an energy so forceful that it seems contained only by the black lines of the camera frame. Breaking Bounds is a collection of 87 of these extraordinary images, taken between 1982 and 1991 and representing the best of Greenfield's mature personal work. That period saw her achieve her aim: to liberate the dancer from the dance. 'I teli my dancers', she says, 'to leave their choreography at the door,' and here indeed we see dance as it has never been shown on stage. These are movements which arise through a collaboration between Greenfield and a host of dancers, unrestrained by the bounds of choreography, willing to take risks and to push to the absolute limits the boundaries of both photography and dance. This volume alsó represents a further collaboration between Greenfield and the eminent photographic histórián William A. Ewing, who has arranged these examples of her work into five sections which he calls Solo, Duo, Restraint/Release, Fission/Fusion and Breaking Bounds. He alsó provides an introduction and an interview with Lois Greenfield which charts her development from a young photojournalist to one of the finest photographers of the day. With 94 illustrations, including 87 duotone plates Vissza