telex iran (18 Ergebnisse)

Hardcover. Zustand: Good. With an essay by Gholam-Hossein Sa'edi. Black and white photographs throughout. First edition thus. Ex-library copy with typical markings, edge worn, binding is loose but all pages are still firmly attached, else good in pictorial boards. No dust jacket, as issued. ; 101 pages.

Softcover, 102 pages, very good condition; light rubbing to covers, no internal marks. Foreign shipping may be extra.

First edition. Folio sized softcover. Features an essay by Gholam-Hossein Sa'edi. A powerful group of black and white photographs taken in Iran during the time of the U.S. hostage crisis paired with his communications (telexes) between himself and the Magnum offices in Paris and New York. A close to near fine copy in wrappers with some some very minor wear and from the library of the Visual Studies Workshop with their sticker to the verso of the rear cover, a small rubberstamp and pencil notation to one page. Otherwise, a nicer than usual copy of what remains one of the more important photography books of the 1980s. (Roth 246-247, Parr & Badger v2, 252-253).

hardcover. Zustand: Very Good. Near fine copy, minimal wear.

Soft cover. Zustand: Fine. 1st Edition. /Illustrated wraps soft cover.

Soft cover. Zustand: Near Fine. 1st Edition. First edition (English), first printing. Soft cover. Photographically illustrated, laminated stiff wrappers; no dust jacket as issued. Photographs by Gilles Peress. Telexed messages by Gilles Peress and Magnum staff. Essay by Gholam-Hossein Sa'edi. Includes a timeline of events, captions to the photographs, and biographies on the contributors. Designed by Gilles Peress, Tarcus, and Claude Nori, with Nan Richardson. 104 pp., with black-and-white plates throughout beautifully printed on heavy paper. 15 x 10-5/8 inches. Scarce. [Cited in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).]. Near Fine (creases to lower corners of cover, 1/8-inch abrasion to left edge of rear cover and light wear to the extremities; spine uncracked and binding tight). From Parr and Badger: "[Telex: Iran] is one of the key works in what might be termed a postmodern approach to photojournalism, where the photographer seems to critique and comment on his or her purpose whilst trying to fulfill it. Telex: Iran is exemplary in this regard. The book was shot over a five-week period from December 1979 to January 1980, during the Iran 'hostage crisis,' when Islamic fundamentalists, encouraged by the fledgling revolutionary government of the Ayatollah Khomeini, seized the United States Embassy in Tehran and held 52 Americans hostage, in protest at American refusal to return the ousted Shah for trial and certain execution. Peress traveled around Iran, trying to understand both the basis for the revolution and the mindset of a people who were demonized in the US media. His pictures portray not only his attempt to comprehend what was going on, but also the attempts of many of the Iranians he was photographing . Peress does not add traditional, explanatory captions, but instead includes excerpts from the telexes exchanged between himself and the Magnum offices in Paris and New York. These communications, which today would be cellphone text messages or e-mails, give cryptic insights into Peress's understanding of how the story was developing, as well as the practical difficulties facing any photojournalist in a confused and volatile political situation.".

Softcover. Zustand: vg. Peress Gilles (illustrator). French edition. Folio. 101pp. Original b/w photo-illustrated wrappers. Text in green black and white on the front cover and spine. Signed by the photographer at the top of the title page. Here is truly one of the greatest photography books of the 20th century. "A stupendous production by Gilles Peress and Claude Nori. Peress' telexes are brilliantly reproduced at the bottom of the images and give an urgency not only to the photographs but to the life of one restless photojournalist living in a foreign land from day to day." Initial and concluding text in French by Claude Nori and Gholam-Hossein Sa'edi, respectively, with occasional captions in English. Peress was appalled by the one-sided and heavily propagandistic American coverage of the Iranian hostage crisis. With money from the National Endowment for the Arts, he flew to Iran on virtually a whim and photographed what he saw, experienced, and felt during a five-week period, from December 1979 through January 1980. Wrappers with some light rubbing and creasing to extremities, including the head and tail of the spine. Interior with light creasing at the top right corner of the first few pages. Wrappers and interior in overall very good condition.

Ephemera. This is not a book. An original postcard with an image by Gilles Peress from his Telex Iran project, issued as a promotional piece for "In Our Time: The World as Seen by Magnum Photographers" (Norton, 1989.) Stiff postcard, printed both sides; 6 x 4.25 inches. Condition: Very light tanning to the text side otherwise Fine. Will be sandwiched securely between stiff layers of cardboard and shipped the next business day. International postage may be less than quoted.

Hardcover. Zustand: Near Fine. 1st Edition. First Scalo Edition, 1997. 102 pages. Book measures 10.5 x 15.25 inches. This Scalo edition is a facsimile reprint of the original French version "Telex Persan". Photo-illustrated covered boards. No dust jacket as issued. Near Fine in solid binding, and uncommon thus. A very nice copy of this important photojournalism book. "Gilles Peress had been working as a freelance photographer since 1970, and already a member of Magnum for five years when, in 1979 he applied for and received a grant from the NEA for $3000. Frustrated by U.S. coverage of the Iranian hostage crisis, Peress took the money and flew to Tehran, not knowing exactly what he would do, only that, as he later wrote: I wanted to be there, to see see it with my own eyes, without responsibility or commitment (either political, visual or conceptual) to anyone." He photographed in Iran during a five week period from December 1979 to January 1980. The photographs in the book are accompanied by telexes between the author and the few people who knows where he isdispatchers, lab technicians, and friendly liaisons at Magnum. These telexes provide a parallel narrative, and equally chaotic subtext to the surface upheaval. What emerges from these fragments is a complete picture: for once, the line separating the "objective" and the "subjective" becomes a meaningful demarcation. Gholam-Hossein Sa'edi, an Iranian playwright, novelist, and political activist who was imprisoned by the Shah, tortured, and later released, provides, in his commentary included in the book a powerful insider's view of the events behind the photographs. Actual shipping cost is included in this listing which calls for an oversize box.

1997 reissue of Gilles Peress' seminal photobook on post-revolutionary Iran and the U.S. hostage crisis of 1979 and 1980. Over the course of five weeks in 1979 and early 1980, French photographer Gilles Peress photographed Iranian social life at a pivotal moment in the wake of the Revolution. The work chronicles the pivotal months following the Iranian Revolution, when student militias loyal to the Islamic Republic besieged the American embassy in Iran and took 66 hostages. In exchange, they demanded the deposed Shah be extradited from his asylum in the United States for trial in Iran. Peress' book is neither a study nor an analysis of the event, but a fragmentary record of the photojournalist's encounters, perceptions, and emotions, as he moves through Iranian cities and countrysides, attempting to understand the social basis of the revolution and the mindset of a people demonized by the U.S. media. The pictures are not captioned by explanations, they are accompanied by telexes between the author and the Magnum offices in Paris and New York. The telexes narrate his experience on the ground as the story developed, indexing the practical difficulties of Peress' undertaking. As a result, the book is known in the history of photography as an example of postmodern photojournalism, with the author commenting and critiquing his purpose while nonetheless undertaking it. Parr & Badger, The Photobook, Vol 2, p. 252-253; 802 Photo Books from the M. + M. Auer Collection, p. 652. Offset. In photographically illustrated boards. 15 1/4 x 10 3/4 in. 101 pp. Very good; corners lightly bumped and with minor discoloration.

First edition. Folio sized hardcover. Special edition. Essay by Gholam-Hossein Sa'edi. A powerful group of black and white photographs taken in Iran during the time of the U.S. hostage crisis paired with his communications (telexes) between himself and the Magnum offices in Paris and New York. A specially bound copy of the first French edition in black cloth boards with the original front and rear panels bound in and in a near fine black cloth clamshell box. No dust jacket as issued. Laid in is an original black and white gelatin silver photograph that is numbered 37 of 70 on the reverse side and is signed by Peress. A beautiful edition of this classic.

Softcover. Peress, Gilles (illustrator). Contrejour, Paris. Pages 102. Size: 37.8 x 27 cm With stronger signs of age and use in the cover and the outer margins.

First American edition, published simultaneously with the first French edition of the photojournalist's first book. Folio, original stiff photographic wrappers, photographic endpapers. Inscribed by Gilles Peress. In fine condition. Peress described his art well when he said, "I work much more like a forensic photographer in a certain way, collecting evidence. I've started to take more still lifes, like a police photographer, collecting evidence as a witness. I've started to borrow a different strategy than that of the classic photojournalist. The work is much more factual and much less about good photography. I don't care that much anymore about "good photography." I'm gathering evidence for history, so that we remember" (U.S. News). "Telex Iran chronicles the crisis in United States-Iran relations in late 1979 and early 1980 when militant Iranian students seized the American Embassy and held its inhabitants hostage. Peress' book is oversized, graphically bold and provides numerous perspectives on an extremely sensitive political problem Along with reportage of major political events, Peress' pictures record mundane spaces, places, people and moments of Iranian life in order to emphasize the incomprehensibility and confusion of the environment before his eyes. In this way the photographer is able to visualize precisely the culture gap that made such a historical misunderstanding possible. It is a brilliant tactic" (Roth, 28) Roth 101; Open Book, 330; Parr and Badger II, 252.