Art dealer, gallerist and fine art publisher in San Francisco and Catalonia, Michael Dunev presents in this book a selection of photographs shot in Peru, Mexico, the United States and Europe, places where the author has lived or spent long periods, that trace his personal development in the field of photography since 1970.
Hardbound with dustcover
11 x 11 inches; 208 pages
102 tritone images.
Texts by the author, Michael Kenna, Robert Flynn Johnson and Stuart Denenberg.
Bilingual edition in English and Spanish published by Ediciones Polígrafa, SA, Barcelona in a first edition of 1000. Date of publication: July 2015.
NOTES ON THE AUTHORS
With over 400 one-person exhibitions throughout the world to his credit, Kenna’s photography can be found in the permanent collections of the Bibliothèque Nationale, Paris; The National Gallery of Art, Washington DC; the San Francisco Museum of Modern Art; the Victoria and Albert Museum, London; the Tokyo Metropolitan Museum of Photography and the Los Angeles County Museum of Art, amongst others. He has seen published twenty monographs on his work and has done commercial work for such clients as Volvo, Rolls Royce, Audi, Sprint, Dom Perignon and The Spanish Tourist Board.
Robert Flynn Johnson
Curator Emeritus of the Fine Arts Museum of San Francisco and active professor at the San Francisco Art Institute, he is the author of numerous books, including Anonymous, Being Human and The Face in the Lens, which showcase the anonymous photographs collected by the author over many years.
A private art dealer, collector, and writer who opened his first public gallery on Boston’s Newbury Street in 1965. He represents the estate of Kahlil Gibran, the Lebanese-American author of The Prophet. Denenberg’s own first book of poetry was published by Leonard Baskin’s Gehenna Press in 1997.
What others have said
“The photographs of Michael Dunev exhibit a sophisticated understanding of modernist attention to structure, perspective and the dynamic framing of imagery. The fragments of experience his lens capture are, more often then not, spare and restrained with the moisture of extraneous detail wrung out. They elicit a de Chirico mood of retrospection in their elegant angled vacancies…. doors left open for our eyes and minds to enter and inhabit.”
Robert Flynn Johnson, Curator Emeritus, Fine Arts Museums of San Francisco
“The camera works here to sculpt the space with light allowing us to almost feel its optic chisel.”
Frank Hyder, artist
“Pictures of great beauty that suggest TS Elliot when he writes: “We live on the brink, in danger of enchantment.” Images that are fragments of reality but are individualized, distancing themselves from the unit to which they belong and which transmit an unexpected stillness and timeless vision.”
Miguel Morales Ruiz, artist
“They have a simplicity that subjugates, it’s hard to look away from them (something that not every photograph achieves) and one wants to taste them slowly, unhurriedly, like a fine wine.”
Alex Talese, gallerist