Haas' most cherished and personal projectoriginally conceived as an audiovisual slideshowis recreated here in stunning color that will delight his numerous fans as well as anyone interested in Kodachrome photography.

Three decades after its completion, Haas' most personal and least-known project is now available for the first time in this exquisitely produced book. Presented in a clean and spare design, this volume features reproductions of superb quality that allow readers to appreciate his mastery of color, light, and composition, and his ability to capture the mystery of daily life. For this collection Haas drew on images made in all phases of his career from 1952 to 1984, and, despite the title, most of these photographs are not abstract but rather clear, focused, well-exposed images of recognizable surfaces from the observable world around him: crumbling paint, graphic road markings, fabric, liquids, detritus, decay, and torn posters. David Campany's eloquent introductory essay lays the groundwork for a deep appreciation of the slideshow which, in book form, can be savored and understood in an entirely new way.

Elegant and spare design that compliments the photography.

Autorentext
David Company ist Kurator, Autor und Künstler, der vorrangig mit Fotografie arbeitet. Er hat die Publikation Constructing Worlds bei Prestel und zahlreiche weitere Fotobände herausgegeben.

Klappentext

Haas' most cherished and personal project-originally conceived as an audiovisual slideshow-is recreated here in stunning color that will delight his numerous fans as well as anyone interested in Kodachrome photography.

Three decades after its completion, Haas' most personal and least-known project is now available for the first time in this exquisitely produced book. Presented in a clean and spare design, this volume features reproductions of superb quality that allow readers to appreciate his mastery of color, light, and composition, and his ability to capture the mystery of daily life. For this collection Haas drew on images made in all phases of his career from 1952 to 1984, and, despite the title, most of these photographs are not abstract but rather clear, focused, well-exposed images of recognizable surfaces from the observable world around him: crumbling paint, graphic road markings, fabric, liquids, detritus, decay, and torn posters. David Campany's eloquent introductory essay lays the groundwork for a deep appreciation of the slideshow which, in book form, can be savored and understood in an entirely new way.