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摘要
In 1960, after spending an intense year photographing a notorious Brooklyn street gang called The Jokers, Bruce Davidson decided that he needed to get away from the tension, depression and potential violence connected to that work. He took on a commission to photograph Marilyn Monroe during the making of John Houston's film The Misfits in the Nevada desert, and then traveled to London on a commission for The Queen magazine. Edited by Jocelyn Stevens, The Queen was a magazine devoted to British lifestyle and Davidson was charged, with no specific agenda, to spend a couple of months touring England and Scotland to build a photographic portrait of the two countries. England/Scotland 1960 offers a visionary insight into the very heart of English and Scottish cultures. Reflecting a postwar era in which the revolutions of the 1960s had hardly yet filtered into the mainstream, Davidson's photographs reveal countries driven by difference--the extremes of city and country life, of the landed gentry and the common people--and lucidly portrays the mood of these times in personal and provocative imagery that is as fresh today as it was in that time. Published in this book for the first time in its entirety, this is one of undiscovered gems of late twentieth-century documentary photography.
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《图书馆杂志》(Library Journal )书评
In this elegantly designed collection of images originally commissioned by the Queen magazine, noted documentary photographer Davidson portrays a slice of everyday life in England and Scotland in the seemingly quiescent time of 1960. Although the black-and-white photographs capture people in common activities ranging from lawn bowling to sheep herding, this photo essay is unified by a sense of humanity. Davidson was reputedly influenced by Henri Cartier-Bresson, who popularized the concept of the decisive moment, but the collection is more reminiscent of André Kertészs work. Providing glimpses into the lives of people from both the working class and high society, the photographs exude a sensitive, almost tender quality. Davidsons introduction offers highlights of an amazing career that spans half a century, while Mark Haworth-Booth (curator, Victoria & Albert Museum, 1970-2004) contributes a cogent afterword. However, like the finest photographs, these uncaptioned images speak for themselves. An exceptional book, this is highly recommended for all libraries, especially those with collections of fine art and documentary photography.--Raymond Bial, First Light Photography, Urbana, IL (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted. All rights reserved.