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Photographs of the Chicago cityscape--digitally distorted and hyper-enlarged, snatched surreptitiously via telephoto lenses--focus specifically on issues of voyeurism and the contemporary urban landscape in flux.
Chicago, like many urban centers throughout the world, has recently undergone a surge in new construction, grafting a new layer of architectural experimentation onto those of past eras. In early 2007, the Museum of Contemporary Photography, with the support of U.S. Equities Realty, invited Michael Wolf as an artist-in-residence to document this phenomenon. Bringing his unique perspective on changing urban environments to a city renowned for its architectural legacy, Wolf chose to photograph the central downtown area, focusing specifically on issues of voyeurism and the contemporary urban landscape in flux. This is Wolf's first body of work to address an American city. Whereas prior series have juxtaposed humanizing details within the surrounding geometry of the urban landscape, in "The Transparent City," his details are fragments of life--digitally distorted and hyper-enlarged--snatched surreptitiously via telephoto lenses: Edward Hopper meets "Blade Runner." The material resonates with all the formalism of the constructed, architectonic work for which Wolf is well-known, but also emphasizes the conceptual underpinnings of his ongoing engagement with the idea of how modern life unfolds within the framework of the ever-growing contemporary city. Michael Wolf, born in Munich in 1954, grew up in the United States and studied at UC Berkeley and with Otto Steinert at the University of Essen in Germany. Two previous books--"Sitting in China" (2002) and "Hong Kong: Front Door/Back Door" (2005)--feature his much acclaimed photographs of China. Wolf lives and works in Hong Kong and Europe.
What makes Michael Wolf stand above other photographers is his knack for capturing things that appear mundane and inconsequential within the chaos of the urban environment, and turning them into thought-provoking discoveries… Wolf makes us look at and appreciate the surprising multitude of delightful urban phenomena that we tend to overlook or under appreciate. By this means, he challenges the assumptions we have about the city we think we know. 吳爾夫 (Michael Wolf) 在攝影界中傲視同儕，是他能以卓越的攝影技巧，把煩囂都市生活中捕捉到平平無奇的小事，換化成令人細味的影像。我們自以為很了解這個城市，吳爾夫卻利用攝影，讓我們體會到這些被我們忽略了的有趣景象。 In Hong Kong Corner Houses, the internationally renowned German photographer Michael Wolf continues with his visual quest for the overlooked and underappreciated urban phenomena that give a city its special character. This time, he draws our attention to Hong Kong’s urban corners and buildings that are often inconspicuous amid the high-rise, high-density urban clutter of Hong Kong. These ordinary residential-commercial buildings of 1950s and 1960s vintage represent the expression of local Chinese pragmatism and expediency in the economic austerity of early postwar decades. The photographic presentation captures the inherent paradoxes of their architectural character: the quiet prominence, attractive banality, and tectonic chaos that give urban Hong Kong its endearing quality. Complementing the superb photographs of Michael Wolf, Hong Kong Corner Houses features an essay and extended captions by two of Hong Kong’s best-known academics in the field of architectural conservation, Drs. Lynne DiStefano and Lee Ho Yin. 在《街頭街尾》一書裏，國際聞名的德國攝影師 Michael Wolf再次運用敏銳的觀察力，尋覓一些常被忽略和忽視的香港城市現象，令讀者重新發現，隱藏在高樓林立的市區中別具風格的「街頭街尾」建築。 《街頭街尾》內所載的建築物，皆是五、六十年代的商住大廈。它們的出現，反映了香港華人在戰後的艱難條件下，如何運用務實的設計，應付迅速增長的屋宇需求。在這些其貌不揚、平平無奇和看似雜亂無章的建築物當中，Michael Wolf以卓越的攝影技巧，捕捉了它們生氣勃勃的一面，換化成令人細味的影像。這些充滿矛盾的特點正是香港引人入勝之處。 本書有幸邀請了香港大學著名的建築文物保護學者李浩然博士（Lee Ho Yin）和狄麗玲博士（Lynne DiStefano），為《街頭街尾》撰寫緒言及補充圖片說明。
A Major work of twentieth-century American Literature.
This is a strange book about design and lifestyle. In China, chairs are as varied as the occasions for sitting. They are not elegant, and not always comfortable. But neither are they mass-produced items: they are individuals. Each chair and stool has its own character, is a companion, a bastard, or a venerable elder. Their occupants sit close to the floor, without the pressure of time, watching the world go by in self-observation. However, a photographer trying to document such a scene quickly becomes the focus of attention. People passing by wonder what is going on; the person on the chair assumes a pose, though the intention was to catch him or her unawares. Michael Wolf's photographs document the beauty of the ugly, the stretching of time, the art of improvisation, and the nature of the stool as a portrait of its user. Sometimes, a photographed chair was immediately confiscated: having lost its anonymity by being singled out as a noteworthy object, it rather became an object of embarrassment -- too shoddy to ever be photographed again.
It goes without saying that everyone wishes to live a life that matters. But how do we harness this potential and positively impact the world around us? In Be Audacious: Inspiring Your Legacy and Living a Life that Matters, author and motivational speaker Michael W. Leach offers a simple, four-part game plan for overcoming adversity, living authentically, uncovering purposeful passion, and developing vision. Leach encourages readers to embrace nonconformity—to "shed the shackles of societal norms"—in pursuit of their dreams. Fresh, vulnerable, and contemporary, this call to action speaks to millennials and any others who aspire to break out of the box on the path to a purposeful journey uniquely their own.
"In this book, Edward Burtynsky presents photographs of the remnant and newly established zones of Chinese industrialization - those places created while realizing the "glory" of wealth for a powerful civilization yearning to move forward and join the ranks of modern nations. Using diplomatic channels, Burtynsky has gained rare access to these sites, creating images that are at once arresting and unsettling. These photographs afford us privileged glimpses of the vast social and economic transformation currently underway in China." "Burtynsky casts a watchful eye over the extreme expressions of Chinese industry. His subjects include the Three Gorges Dam, at present the world's largest engineering project and Bao Steel, China's biggest steel producer. He explores the vanishing dinosaurs of old industrial complexes in the north eastern "rust belt" and shipyards at Qiligang, the single most concentrated area of shipbuilding in the country."--BOOK JACKET.