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Lise Sarfati: She [SIGNED]

Publisher: Santa Fe, New Mexico: Twin Palms Publishers, 2012
Edition: 1st Edition
Binding: Hardcover
ISBN: 9781936611003
Condition: New / New
Item #: 110512

$95.00 save 30% $66.50


First edtiion, first printing. Signed in black ink on the half-title page by Sarfati. Hardcover. Coarse gray cloth-covered boards with title stamped in black on spine; with photographically illustrated dust jacket. Photographs by Lise Sarfati. Essay by Quentin Bajac. Includes a list of plates. Unpaginated (120 pp.), with 52 four-color plates. 11 x 14-1/4 inches. This first edition was limited to 2000 copies. [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume III. (London and New York: Phaidon, 2014)].


New in publisher's shrink wrap.


From the essay by Quentin Bajac: "A family album preserves only carefully selected photographs. Out of an entire life, it stores only handpicked moments, privileging special occasions, happy ones usually, and consigning the rest to oblivion: happy faces, relaxed moments, places of leisure rather than work. It tends to underline a group's social links and affective relations, to highlight an identity, a communal spirit, a shared life and destiny. The portrait of the couple or group, with all its attendant conventions, is one of its inescapable figures. The family album tries to register the evolution of a particular human community, to write its story and scan the passage of time with each succeeding page. None of this figures in She: instead of a chronology, time is stopped, it appears to stammer and bite its own tail. There is no group photo or desire to stage a collective destiny, but only isolated models and individuals who do not seem to communicate amongst themselves, or only barely; no happy moments or picturesque places, only indifferent moments in ordinary places; no strong gesture, none of the conventional poses, and no complicity with the photographer. The models pose, but reservedly, more often than not without looking into the camera. And even when we do see their faces, we don't really seem to see them. They are here, but they are always also there, elsewhere. When we close the book and think a bit about it, we cannot but see She as the anti-family album par excellence."