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Photography and pop-culture buffs, get out your crayons and colored pencils! Martin Parr's colorful and tongue-in-cheek photographs--his comedy of contemporary manners--have been transformed into a coloring book. Here is Parr's affectionate and hilarious catalogue of human foibles--bad fashion choices, messy foods, trashy souvenirs and the tourists who buy them--rendered afresh. The book's eighty pages are packed with the most iconic and beloved Parr images, made into original drawings by Jane Mount, offering hours of coloring entertainment.
When You Want It All, You've Got To Give It All From the outside, Bliss Sinclair's life seems very glamorous--a high-profile job with a publishing house, a fashionable boyfriend who looks good on her arm, and ultra-chic parties where the come-ons are as hot and thrilling at night as they are empty as an air-kiss greeting the next day. It's a world Bliss wanders through with blinders on, all the while craving more. And she finds it in the most unlikely of places. Embarking on a series of carnal adventures with a notorious bad girl as her guide, Bliss opens herself to every new experience and every taboo. In abandoned warehouses, private fetish clubs, even her own office, Bliss is skating on the thin ice of desire--until her world comes crashing in. Now, broken and wanting, Bliss decides to spend a summer in her birthplace, Jamaica, where she hopes to reconcile with her estranged father and rediscover herself. There, in a land of lush ripeness, of heat, warm breezes, easy smiles, and the family she left behind, Bliss will discover what she didn't know was missing. It's a journey that will awaken every one of her senses and take her to the edge of known pleasure and far beyond it, to a love that is as sexy as it gets, as real as can be, and more surprising than she can imagine--a place of total bliss.
Martin Parr is a key figure in the world of photography and contemporary art. Some accuse him of cruelty, but many more appreciate the wit and irony with which he tackles such subjects as bad taste, food, the tourist, shopping and the foibles of the British. Parr has been collecting postcards for 20 years, and here is the cream of his collection - his boring postcards. With no introduction or commentary of any kind, Parr's boring postcards are reproduced straight. They are exactly what they say they are, namely boring picture postcards showing boring photographs of boring places, presumably for boring people to buy to send to their boring friends. All of them are shot in Britain, taking us on a boring tour of its motorways, ring roads, traffic interchanges, bus stations, pedestrian precincts, factories, housing estates, airports, caravan sites, convalescent homes and shopping centres. Some attempt to idealize their subjects, only to fail dismally. Others lack any apparent purpose or interest, but the resultant collection of photographic images is wholly compelling. Boring Postcardsis multi-layered: a commentary on British architecture, social life and identity, a record of a folk photography which is today being appropriated by the most fashionable photographers (including Parr), an exercise in sublime minimalism and, above all, a richly comic photographic entertainment.
A revised edition of the classic book that launched Martin Parr and transformed the world of documentary photography.
An extraordinary and exceptional collection of Magnum photographer Parr's new work covering the last two years. Hilariously funny, though with a sharp and biting edge, it combines lurid and luscious colour with his wonderful sense of irony. Publication will coincide with a world wide exhibition of the work which is being shown in a staggering 38 venues in 22 different countries during March and April 1999. Features 160 colour plates.
In the United Kingdom, one is never more than seventy-five miles away from the coast. With this much shoreline, it's not surprising that there is a strong British tradition of photography by the seaside. American photographers may have given birth to street photography, but according to photographer Martin Parr, "in the UK, we have the beach!" Here, he asserts, people can relax, be themselves, and show off all those traces of mildly eccentric British behavior. Parr has been photographing this subject for many decades, documenting all aspects of the tradition. His international career, in fact, could well be traced to the launch of The Last Resort, a 1986 book depicting the seaside resort of New Brighton, near Liverpool. What may be less known is that this obsession has led Parr to photograph beaches across the world. This compilation, his first on the topic, presents photos of beachgoers on far-flung shores, including Argentina, Brazil, China, Spain, Italy, Latvia, Japan, the United States, Mexico, Thailand, and of course, the UK, among others. This book shows Parr at his best, startling us with the moments of captured absurdity and immersing us in the rituals and traditions associated with beach life the world over.
British photographer Parr uses his camera to skewer the affluent consumer culture now pervasive in his home country and throughout Europe. He is critical and pessimistic: in some of his ironically colorful pictures, fast-food consumers are literally ankle-deep in trash, and a kind of consumerist stupor seems to overtake most of the faces. Yet at the same time Parr is humorous, poking fun at a bare-breasted sunbather bottle-feeding her baby, at frenzied supermarket shoppers with crazily overloaded carts. The spirit of the late Tony Ray-Jones, Parr's compatriot whose delightful A Day Off (1974) showed the English at play, hovers over Home and Abroad. Sadly, Parr's English have gotten duller, gained weight, and lost touch with their delightful traditional eccentricities since Ray-Jones' day. Perhaps even Ray-Jones might today see the English as Parr has--homogenized and zombified by material goods. Or perhaps Parr simply has a darker vision. Gretchen Garner
In a unique visual dialogue, Deja View brings together the work of beloved photographer Martin Parr, master of capturing the art in everyday existence, with The Anonymous Project's archive of unidentified vintage slides, collected from across Europe and America. Surprising and delighting in their similarity, these affectionately matched images celebrate photography's power to capture the small moments of humour, warmth, ennui and absurdity that are in fact our most important of all.