具体描述
Dutch conceptual artist Hans Eijkelboom's work is very much in line with the deadpan, seemingly mechanistic note-taking of Ed Ruscha and Hans-Peter Feldman. In Paris-New York-Shanghai , Eijkelboom creates a witty comparative study of three major contemporary metropolises, each selected for having been the cultural capital of its time--Paris during the nineteenth century; New York, the twentieth; and Shanghai, the twenty-first.
This uniquely bound three-volume accordion-folded set opens up to allow the reader not only to view each city individually, but also to compare simultaneously the three photographic studies of each metropolis and its citizens. The large-format cityscapes with the identifying quirks of each city and the snapshot-style grids of their inhabitants soon reveal how similar one city is to another today. For example, Eijkelboom's grids of mothers carrying their infants in Baby Bjorns, or men wearing striped polo shirts highlight the ubiquity of many of our most intimate possessions. As Eijkelboom writes, "Globalization, combined with the desire of cities for visually spectacular elements, is leading to the appearance everywhere of city centers that look the same and where identical products are sold." With an introduction by Martin Parr.
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或许作者不知道逛南京路的大部分是外地人。作为一本拍摄三座城市同一类（或表面上有相同点）的人、物的书，在人物的选取我认为是比较失败的。我并不歧视外地人！尽管大量的外地人在上海一定程度上说明了上海的包容性，但人物选取时明显的都是外地人，这就不能说明上海和在上海的人的特质了。如果作者这样的家庭作业都没做好，那这书以及副标题就完全没意义了。不过书的装帧还是有新意的。
评分扫街大师
评分We are a product of the culture that we live in.
评分有点表面，有点逗
评分非常喜欢的一套书，在某年的摄影展遇到。对于不同城市，人与人之间、人与城市之间、人与世界上别的国家的人之间，都可以通过一张张图片找到“想法”。
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