Bright, Bright Day. Photographs and text by Andrey Tarkovsky. Poems by Areseniy Tarkovsky. Edited with an introduction by Stephen Gill. Interview with Boris Groys. White Space Gallery Ltd/The Tarkovsky Foundation, 2007. 127 pp. Quarto. First English edition, first printing (3000 copies in English; 2000 in Russian--not to be confused with the 2008 American reprint. Clothbound with gilt title and cover design. No jacket as issued. 65 color and 12 duotone reproductions.
The rare first printing of this stunning body of work "Andrey Tarkovsky is considered by many to be one of the greatest filmmakers the world has ever seen. Although he made just eight feature films before his life was cut tragically short by cancer at the age of 54, each is an artistic masterpiece and a major landmark in world cinema. "Bright, Bright Day" contains previously unseen Polaroids from the Florence-based Tarkovsky Foundation archive. From the time Michelangelo Antonioni first gave Tarkovsky a Polaroid camera as a gift in the 1970s, it rarely left his side. Taken in Russia and Italy between 1979 and 1984, ranging from romantic landscapes and studied portraits to private shots of the auteur's family and friends, all the photographs demonstrate the singular compositional and visual-poetic ability of this master image-maker. Many of the pictures created in Russia complement and extend the personal imagery of the film "Mirror" (1974), while the images from Italy were taken while he was preparing "Nostalgia" (1983). Edited by noted photographer Stephen Gill (who also contributes a text) and published in conjunction with a British gallery exhibition, it contains essays by leading critics; poems by Arseniy Tarkovsky; a text by Andrey A. Tarkovsky, his son; Andrey Tarkovsky's own essay on photography; and a series of intimate family photographs made during the 1930s by the Moscow poet Lev Gornung."--the publisher
The written content of this book brings together reflections on photography by three generations of the Tarkovsky family: In the Introduction, the younger Andrey Tarkovsky comments on the photographs of his childhood that were taken by his father; a text by the latter considers the experience of going to his mother's house and looking at photos of his own childhood taken by family friend Lev Gornung; and a selection of Arseniy Tarkovsky's poems, including one about photography, punctuate the book. Accompanying these intimate reflections is an interview with leading Russian philosopher and cultural critic Boris Groys, Professor at the Center for Art and Media Technology Karlsruhe, by Nadim Samman and Anya Stonelake. Also included is a short essay by prominent photographer Stephen Gill.
Where does art end and life begin? As this book will make clear, for Andrey Tarkovsky there could be no division.
Fine-; light smudging.