I Know How Furiously Your Heart Is Beating (Signed)
«There are other words for Soth’s strategy poetry, for one, or punk. Nothing is harder than making it look easy.» David O’Neill
Taking its name from a line in the Wallace Stevens poem The Gray Room, Alec Soths latest book is a lyrical exploration of the limitations of photographic representation. While these large-format color photographs are made all over the world, they arent about any particular place or population. By a process of intimate and often extended engagement, Soths portraits and images of his subjects surroundings involve an enquiry into the extent to which a photographic likeness can depict more than the outer surface of an individual, and perhaps even plumb the depths of something unknowable about both the sitter and the photographer.
After the publication of my last book about social life in America, Songbook, and a retrospective of my four, large scale American projects, Gathered Leaves, I went through a long period of rethinking my creative process. For over a year I stopped traveling and photographing people. I barely took any pictures at all.
When I returned to photography, I wanted to strip the medium down to its primary elements. Rather than trying to make some sort of epic narrative about America, I wanted to simply spend time looking at other people and, hopefully, briefly glimpse their interior life.
In order to try and access these lives, I made all of the photographs in interior spaces. While these rooms often exist in far-flung places, its only to emphasize that these pictures arent about any place in particular. Whether a picture is made in Odessa or Minneapolis, my goal was the same: to simply spend time in the presence of another beating heart. Alec Soth
Coincides with four solo exhibitions in New York, San Francisco, Minneapolis, and Berlin.
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