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Edgar Martins: Topologies Hardcover – April 1, 2008
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"Martins' 'Accidental Theorist' photographs contain contemporary photography at its strongest: A seemingly effortlessly achieved look at our world in such a way that we are forced to have another look at it." -- Jörg Colberg --Conscientious blog
"Deceptively understated yet highly complex in soft, nearly muted colors, these photographs were taken either in the relatively mild climates of Portugal or in Iceland's rugged terrain, but they depict such a universal, otherworldly atmosphere that they could have been taken anywhere, even on another planet." -- Raymond Bial -- Library Journal
"His photographs take common themes, such as the urban periphery, and lift them into perplexing scenes of beautiful abtraction..." -- Diane Smyth --The British Journal of Photography
"One senses alienation and anxiety when viewing these pictures, coupled with a sense of guilt over what we know we are doing to our environment as a society. You've probably never seen landscapes like these." --Amateur Photographer
About the Author
David Campany is a writer, curator and artist, working mainly with photography. David s books include The Open Road: photographic road trips across America (2014), Walker Evans: the magazine work (2014), Gasoline (2013), Jeff Wall: Picture for Women (2010), Photography and Cinema (2008) and Art and Photography (2003). He also writes for Frieze, Aperture, Art Review, FOAM, Source, Photoworks and Tate magazine. Recent curatorial projects include Lewis Baltz: Common Objects (Le Bal, Paris 2014), Walker Evans: magazine work (Foto Museum Antwerp 2014), Victor Burgin: A Sense of Place (AmbikaP3 London, 2013), Mark Neville: Deeds Not Words (The Photographers Gallery London, 2013) and Anonymes: Unnamed America in Photography and Film (Le Bal Paris, 2010). David has a Phd and teaches at the University of Westminster, London. For his writing, David has received the ICP Infinity Award, the Kraszna-Krauss Book Award, a Deutscher Fotobuchpreis, and the Royal Photographic Society s award for writing.
John Beardsley is a writer and curator living in Washington, D.C.; he is the Director of Garden and Landscape Studies at the Dumbarton Oaks Research Library and Collection.
Top Customer Reviews
With artful composition and controlled framing--but no digital manipulation--Edgar Martins creates sublimely beautiful views of often un-beautiful sites.
***"No digital manipulation."*** This is how the project was sold to the publisher, and how Martins sold his prints for thousands of dollars. He lied and was caught. Now he's trying to backpedal, and like a child who has fallen and says "I meant to do that!" he is making his lie sound like a grand artistic experiment. Don't fall for it.
No matter how beautiful the images, they represent an ugly lie perpetrated on the very people who supported him. You can easily find the info about this with a simple Google search.
I have nothing against manipulation of images for the sake of art, but lying about it, and indeed building your reputation (and print prices!) on your purist stance, while it's been a lie all along, is shameful and immoral. Martins should return his advance, and the publisher should offer refunds.
The view of the normal which makes you think of it as alien
is intriguing and at the same time produces a little anxiety...
the good kind of anxiety that you get, like looking out from a mountain top.
Martins views taught me how to take notice of these insights when I see them through my own camera.
These are not journalistic photos so the furor over manipulating and lying signifies nothing.