Pirelli Work by Killip Chris, Signed (5 results)

Dust Jacket Condition: dj. First Edition. First edition and first printing. Hardcover. 88 pages. Text in English. Introduction by Chris Killip. Essay by Clive Dilnot. Attractive collection of 50 tritone illustrations. A fine copy in a very near fine dust jacket. Signed and inscribed by Killip. Signed.

Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. Signed by Chris Killip. A near mint copy. Included with the book is a 10"x8" photograph of Chris Killip. Signed by Illustrator(s).

Hardcover. Condition: Very Good. SIGNED. (Gottingen). (2015). 4to. 2nd edition. SIGNED by Killip on t.p. Slight bumping to fore corners, spine ends, and joint ends of covers and d.j. Faint toning to margins of leaves. Faintest scraping to fore corners and joint ends of faintly scratched and mildly rubbed d.j. Occasional mild scraping to d.j. edges. VG/VG. Author.

Condition: Wie neu. Steidl, Göttingen, 2006. First edition, first printing. Signed by Chris Killip! Signatures by this artist are scarce! Mint, unread, new. Originally shrink-wrapped in publisher`s plastic foil; only opened once for signature! Wonderful photobook by the maker of the legendary "In Flagrante" (Martin Secker and Warburg, London, 1988; Martin Parr, The Photobook vol 2, page 299. 802 photo books from the M. + M. Auer collection, page 675). Cloth with jacket. 350 x 208 mm. 128 pages. With 50 tritone illustrations. With an essay by Clive Dilnot. Text: english. Perfect condition! Signed by the artist! Collector`s copy! "I wanted to show the manufacturing process as clearly as I could and to do so in this factory meant it would have to be lit. Ironically, my stubborness in trying to avoid lighting would now have its own unexpected rewards. Because of the desperate amount of time that I had spent there, I knew in a visual way the processes of the factory; the rhythms and cycles of the machines, the movement and steps that the operators had to take, the movement that the processes predetermined for them. I began again, rephotographing the factory using lights, sometimes three or four lights triggered by remote control devices. The main light, the one balanced to light the subject, was often held on a pole by my friend, away from the camera, mimicking the fashion techniques that I knew from my past. I now understood and knew what I wanted to do. The workplace had become, in a real sense for me, a theatre and I embraced the look of these new photographs with their relation to fashion, film noir, and even Soviet realism. For me this 'look' seemed a more telling way to record and document this enforced ritual."***************Steidl, Göttingen, 2006. Erstausgabe. Originalausgabe. Signiert von Chris Killip! Signaturen dieses Künstlers sind sehr selten! Neu, ungelesen, verlagsfrisch. Noch original-verschweisst in der Plastikfolie des Verlages; nur einmal geöffnet für die Signatur. Wunderschönes Fotobuch vom Macher des legendären "In Flagrante" (Martin Secker and Warburg, London, 1988; Martin Parr, The Photobook vol 2, page 299. 802 photo books from the M. + M. Auer collection, page 675). Mit einem Essay von Clive Dilnot. Hardcover mit Schutzumschlag. 350 x 208 mm. 128 Seiten. Mit 50 Fotos in schwarz-weis. Text: englisch. Perfekter Zustand! Signiert vom Künstler! Sammler-Exemplar! "Ich wollte den Herstellungsprozess so genau wie möglich darstellen und in einer Fabrik bedeutet das, dass diese entsprechend beleuchtet sein müsste. Meine Starrsinn, der mich immer dazu veranlasst hat, künstliche Beleuchtung zu vermeiden, zahlte sich hier, ironischerweise, endlich aus. Ich verbrachte soviel Zeit in der Fabrik, dass ich die Abläufe, zumindest visuell, verinnerlichte: Der Rhythmus der Maschinen, die genauen Schritte, die deren Betreiber einhalten muss, zu denen sie von dem Prozess gezwungen wurden. Später fotografierte ich die Fabrik erneut, diesmal unterstützt durch künstliche Lichtquellen, manchmal drei oder vier ferngesteuerte Lampen zur gleichen Zeit. Das Licht, das zur Ausleuchtung des Hauptmotivs genutzt wurde, wurde oftmals von einem Freund an einem Stab weg von der Kamera gehalten, wie in den Modefotografien, die ich früher gemacht habe. Jetzt verstand ich, was ich tat. Auf eine gewisse Art hatte sich die Werkstatt in ein Theater verwandelt und ich nahm die Bilder dementsprechend auf, in der Tradition von Mode, Film Noir oder auch sowjetischem Realismus. Für mich funktioniert dieser "Look" perfekt als Dokumentation und Zeugnis dieser erzwungenen Rituale." (Chris Killip) Sprache: Englisch Gewicht in Gramm: 1600.

Gottingen: Steidl.2006. Large 4to. Original grey cloth, lettered in black to front cover and spine, in photo-illustrated dustjacket; pp. [6], 7-85, [1]; minimal crease to left corner of jacket's front panel, very slight staining to edges of jacket; a near-fine copy; three signed photographs loosely inserted.First edition, with three loosely inserted black-and-white photographs by Killip, signed and inscribed to Claire de Rouen.Born in the Isle of Man in 1946 and revered for his documentation of working-class life in the post-industrial North of England, Chris Killip became one of the UK's most prolific Post-War photographers. His generous and democratic perspective drew attention to generally underrepresented communities. For example, for the series Seacoal, Killip took portraits of the men who would forage discarded coal, displaying the communal dignity of an overlooked group of people. Pirelli Work is a series of photographs of workers at the Pirelli tyre factory in Burton-Upon-Trent in 1989. Alongside the realistic and intimate portrayal of the factory, stands Killip's light and his techniques from fashion photography. As Killip wrote '[t]he main light, which was the one balanced to light the subject, was often held on a pole by my friend, away from the camera, mimicking the fashion techniques that I knew from my past. I now understood and knew what I wanted to do. The workplace had become, in a real sense for me, a theatre and I embraced the look of these new photographs with their relation to fashion, film noir, and even Soviet realism. For me this 'look' seemed a more telling way to record and document this enforced ritual'.