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88103J O E L M E Y E R O W I T Z ( * 1 9 3 8 ) Florida, 1978Archival pigment print,unique exhibition print54,1 %u00d7 42,9 cmLITERATUREJoel Meyerowitz, Between the Dog and the Wolf, Tokyo 2013, s.p.PROV E N AN C E The print comes directly from the photographerSigned, dated and titled by the photographer in pencil on the reverse, neg.no. on the reverse, Edition #1/1Starting price: %u20ac 5.500*Estimate: %u20ac 10.000%u201314.000%u201eBack in the mid-1970s I started making a series I called %u2018entre chien et loup%u2019, the French for %u2018Between the Dog and the Wolf,%u2019 which was their way of describing the uncertainty of what can be seen during the oncoming %u2018Blue Hour%u2019. I loved the poetry of that expression, which offered me many new subjects and ways of seeing. Of course at that hour neon signs offer their own thrilling presence as the light of day fades into night. The car and the motel in Florida and the glowing halo of light made me stop and pay close attention to all of it.%u201c%u2013Joel MeyerowitzMit diesen Worten erinnert sich Meyerowitz an einen Wendepunkt in seinem fotografischen Werk. Mitte der 1970er-Jahre, bereits etabliert als Chronist des urbanen Lebens und Pionier der Farbfotografie, wandte er sich mit neuer Sensibilit%u00e4t dem atmosph%u00e4rischen Zwischenraum der sogenannten %u201eblauen Stunde%u201c zu. %u201eEntre chien et loup%u201c %u2013 jener franz%u00f6sische Ausdruck f%u00fcr das unentschiedene Licht zwischen Tag und Nacht %u2013 wurde f%u00fcr ihn zum konzeptuellen Ausgangspunkt eines langsamen, tastenden Sehens.Biografisch f%u00e4llt diese Phase mit seiner Hinwendung zum Gro%u00dfformat zusammen: Statt fl%u00fcchtiger Stra%u00dfenszenen nun die kontemplative Erkundung von Raum, Licht und Oberfl%u00e4chen. Meyerowitz erfindet sich hier neu, ohne seine Wurzeln zu verleugnen: Die Neugier bleibt, doch das Tempo verlangsamt sich. Der Blick wird tiefer, die Welt komplexer und das Licht zum eigentlichen Protagonisten seiner Arbeiten.Der signierte Ausstellungsprint kommt direkt vom Fotografen und ist ein Unikat, Edition #1/1.%u201cBack in the mid-1970s I started making a series I called %u2018entre chien et loup%u2019, the French for %u2018Between the Dog and the Wolf,%u2019 which was their way of describing the uncertainty of what can be seen during the oncoming %u2018Blue Hour%u2019. I loved the poetry of that expression, which offered me many new subjects and ways of seeing. Of course at that hour neon signs offer their own thrilling presence as the light of day fades into night. The car and the motel in Florida and the glowing halo of light made me stop and pay close attention to all of it.%u201d%u2014Joel MeyerowitzWith these words, Meyerowitz recalls a turning point in his photographic work. By the mid-1970s, already established as a chronicler of urban life and a pioneer of color photography, he turned with newfound sensitivity toward the atmospheric in-between of the so-called %u201cblue hour.%u201d %u201cEntre chien et loup%u201d%u2014the French expression for the indeterminate light between day and night%u2014became for him a conceptual point of departure for a slower, more exploratory way of seeing.Biographically, this phase coincided with his transition to large-format photography: no longer fleeting street scenes, but contemplative explorations of space, light, and surface. Here, Meyerowitz reinvents himself without disowning his roots: the curiosity remains, but the pace slows. The gaze becomes deeper, the world more complex and light emerges as the true protagonist of his work.This unique exhibition print, Edition #1/1 is signed and comes directly from the photographer.