Flamingo, Stardust, Caesar's Palace--the sparkling neon signs that tower over the grand casinos and hotels on the Las Vegas strip are familiar not just in name but in fame. Las Vegas, that desert town built from sand, poker chips, and free buffets, has come to symbolize a certain kind of American culture that deals in extremes of mediatization, simulacra, privatization, and entertainment. Photographer Andreas Schmidt has taken his lens to the city, altering it in such a way that it appears anew: blurred, seen from a passing car, reversed, or reflected in a window pane. A master of the unexpected and the unusual perspective, Schmidt takes super-wide-angle shots of the spectacular Vegas skyline, sandwiching it into the narrow horizontal gap between two levels of dark concrete pilings in a parking garage. He makes endless hotel corridors vanish into nothingness. He flows vast, empty convention halls and their wildly twilled carpets together to form absurd, magnificent patterns. In Schmidt's Las Vegas series, the glamour and glitter of the strip is exposed as pure fa ade, as the ultimate collective act of megalomania--but without ever losing any of its fascinating, perverse allure.
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Andreas Schmidt was born in 1967 in Germany. The London-based photographer specializes in interior, architectural and reportage photography for editorial, design and advertising clients, and his editorial work has appeared in such publications as Frame, The Guardian Weekend, Illustrated London News, FX, Time Out, Elle, and Wallpaper His commercial clients include the Victoria & Albert Museum, CassonMann, DIN Associates, Vince Frost, and Wingate & Moon. Selected photographs from Schmidt's Las Vegas series have been exhibited in New York, Bristol, and London.
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Hardcover. Condition: Sehr gut. 1. Auflage. Z : 144 Seiten, 110 Abb. - Flamingo, Stardust, Caesar's Palace: Die turmhohen Leuchtreklamen der großen Spielcasinos und Hotels entlang des Strip tauchen natürlich auch auf den brillanten Las Vegas-Bildern von Andreas Schmidt auf, aber hier sind sie verwackelt, im Vorüberfahren geschossen, seitenverkehrt, in einer Fensterscheibe gespiegelt. Denn Schmidt (*1967 in Werneck bei Schweinfurt) liebt Brüche und ungewohnte Perspektiven, und so zwängt er das spektakuläre Superbreitbild-Panorama der Stadtsilhouette zwischen die dunklen Betonbrüstungen eines Parkhauses, lässt endlose Hotelflure fantastisch ins Nichts fluchten oder riesige, noch leere Hallen und ihre Teppichböden zu absurden, prachtvollen Mustern gerinnen. Die Glitzermeile enttarnt sich auf Schmidts Bildern als reine Fassadenwelt scheinbar ohne jeden Inhalt, als nicht mehr zu überbietende Megalomanie - ohne dabei auch nur im Geringsten an Faszination zu verlieren. Seller Inventory # ABE-1582546154644
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