Museum Of Modern Art Dubrovnik, Farber retrospective exhibition catalogue

DUBROVNIK GALERIJA UMJETNIČKA

Dubrovnik, 2013.

CROATIA

DUBROVNIK GALERIJA UMJETNIČKA

PUTOVANJE KROZ UGOĐAJE JOURNEY THROUGH MOODS

ROBERT FARBER fotografije Photographs

9. travnja - 30. svibnja 2013.

April 9 - May 30 2013 DUBROVNIK, CROATIA

otografije na ovoj izložbi su pigmentni ispisi, digitalno ostvareni na Somerset Fine Art arhivskom papiru. Još odmalena imao sam želju postati slikar, radio sam u tehnici ulja i akvarela. Kad sam se počeo baviti fotografijom upotreba određenih filmova i filtera omogućila mi je da postignem učinak slikarske kvalitete kakvu sam tražio. Međutim, izgled fotografije bio je ograničen fotografskim procesom. Kad je uveden digitalni ispis, eksperimentirao sam s raznim papirima i uskoro sam se vratio originalnom umjetničkom papiru Somerset Fine Art koji sam dotad koristio samo za svoje akvarele.

he images in this exhibition are pigment prints. They have been digitally produced on Somerset Fine Art archival paper. At an early age I had a desire to be a painter, I worked in oils and watercolors. When I started as a photographer the use of certain films and filters gave me the painterly look that I was after.

However, printing the images were limited to a straight photographic process. So, when digital printing was introduced, I experimented with various papers and was able to go back to the original fine art paper that I used for my watercolors, Somerset Fine Art.

Robert Farber

Robert Farber

Leđa Back, 1984

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Putovanje u slikarsko kao sudbina vesna delić gozze

otografovo putovanje, možda više nego u drugih profesija, gotovo je genetski uklopljeno u opis profila tih stvaratelja foto-zabilježbe. Potreba za pokretom i fizičkom promjenom mjesta stvara od fotografa putnike, bilo kao posjetitelje udaljenih mjesta ili kao kvartovske šetače: oni su vječiti promatrači, nalazili se miljama daleko od svoga staništa ili proučavali već poznata im obličja. Naravno da se fotografsko putovanje računa i kad nema premještanja vlastita tijela: putuje se po motivu interijera ili nekog detalja, a fotografije su dionice na postajama osobnoga itinerarija.

Putujući Amerikom i Meksikom ili u potrazi za vedutama New Yorka, potom motivski vezan uz marine ili pak zaustavljaući se pred precioznim instrumentom ženskog tijela, Robert Farber izražava putem foto-aparata svoje primarno slikarske osobine. Na taj način svako Farberovo vizualno otkrivanje postaje njegov osobni susret sa slikarskim kvalitetama motiva. Štoviše, on ih traži u delikatnim odnosima svjetla i sjene iz čije svjetlosne igre i proizlazi duhovitost primjerice fotografije u boji Na krovu sa prevladavajućom tamom sjenki bočnih strana kuća i sa tek dvije svjetlosne oaze – one na ulici i druge na krovnoj terasi gdje se dvije ljudske figure sunčaju; u izrezima fotografskog kadra koji često prizivaju kompozicije u slikarstvu kao što je lautrekovski Moulin Rouge. Farberovo putovanje zapravo je istraživanje slikarskih korijena u sebi i prizivanje posredstvom motiva, koje on transponira foto-aparatom, slikarskih evokacija. Tako Ulična svjetiljka u Sohou mekih, zasićenih toplih tonova nalikuje Rembrandtovoj paleti boja, a Zalazak sunca dostojna je fotografska interpretacija Turnerovih atmosferskih mijena u slikarstvu. Ni na koji način ne radi se o transponiranju slike u fotografiju, nego ovaj autor poseže za slikarstvom isključivo fotografskim sredstvima, pa se rezultat pitoresknosti fotografije i fotografskog izražavanja duktusa slike nalazi u eminentno fotografskom načinima primjerice u uporabi kontrasvjetla sa veermerovskom interijerima okupanim svjetlošću u fotografovu Rousseauovu ateljeu ili neoštrini kojom u toploj žutoj gami Akta s leđa fotograf dočarava mekoću ženske puti i liniju posture tijela nalik Ingresovoj Velikoj odaliski ili eminentno fotografskim izrezom kadra u Kauboju pokraj jezera u nadrealističkim elementima kristalne vode jezera u kojem se ogleda krajolik. Farberovo majstorstvo kompozicije u Bonnie na podu sastavljeno je od prevladavajuće sjene koja uokviruje svijetli, trokutni dio gornjeg lijevog dijela s ženskim tijelom.

Kao u filmu ceste, fotograf bilježi nizove prizora putovanja Amerikom. Fotografija u boji Benzinske postaje u Kanzasu podsjeća na kadrove iz primjerice Jarmushovih filmova. Dotle 4

Mjesečev krajolik koji se sastoji od kompozicijskog niza ženskih stražnjica imun je od svake vulgarizacije obrade teme pa i time podsjeća na postupno, estetizirano otkrivanje “topografije” tijela u početnim kadrovima detalja Reisnaisova filma Hirošima, ljubavi moja.

Nostalgična crta kao u crno-bijeloj fotografiji Sladoled $1,25 ili u Poštanskom sandučiću otkriva svakodnevicu Amerike malih ljudi i neupadljivih detalja, ali i aranžiranog svijeta glamoura primjerice u Šetnji psa ili u Djevojci u vlaku. Kao motiv iz XIX. stoljeća doima se Spavaća soba u Mainu snimljena u kontrasvjetlu: interijerom dominira raspršeno svjetlo s dominantnom bjelinom kreveta između dvije velike prozorske površine.

Meksički vodopad zorno pokazuje mogući primjer Ecove intertekstualnosti kao odnosa prema određenoj grupi znakova; krajolik kao referentni okvir kojeg evocira promatrač, odnosno fotograf koji “umnaža” putanje kapljica vodopada i te vodene zastore pruža po cijelom kadru na podlozi neba i postojeće topografije. Izniman je Farberov osjećaj za ugođaj kao na primjeru Turobnog dana istaknut velikom “granulacijom” motiva: kompozicija je horizontalno podijeljena u tri pojasa, ona neba, mora i pijeska, povezanih krupnozrnatom strukturom; panoramu ispražnjene plaže sa tek nekoliko akcenata detalja autor suptilno povezuje u procesu fotografske obrade. Farberove gradacije tonova su iznimne kvalitete i široke skale; on postiže crni ton koji je u svojoj gustini, baršunast i pun; to je zasićena crna kao na primjeru fotografije naslova Jazz.

Bilo da koristi analognu ili digitalnu fotografiju, Farber u pigmentnim ispisima na posebnoj podlozi papira postiže sintetičnost kvaliteta svojstvenih tehnikama fotografije i slikarstva, sa svakom svojom fotografijom neprestance odmjerajući parametre tih medija, ali uvijek na inspirativan način.

Vesna Delić Gozze

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Journey into pictorial as destiny vesna delić gozze

A photographer’s passage, unlike any of other artists, is almost genetically ingrained in photographic records that are carefully kept in his images.

In an urge to constantly be on the move or travel to diverse places, photographers--much like eternal observers--become true travelers by either covering great distances to reach far lands or by staying close to their community just around the corner.

Photographers’ journey never stops even though they do not make a single move: they investigate, research and move along indoor sets or their specific parts and they create images at every stop of their own itinerary.

Robert Farber uses camera to create a visual art work of highest quality through recording his travels in the United States, Mexico or more specifically in New York, or marines, or that precious instrument of woman’s body, and his images bear the finest features of a great painter. Thus every Farber’s visual turns into his personal encounter and challenge of any true painter’s concept. Farber is challenging delicate relation of light and its shades. In playing with light, fine humor is brought in e.g. his photograph On Roof, where dark shadows are contrasted to two sunlit oases-one is in the street, the other on a roof where two people are sunbathing; or in a clipped photo image that often refers to paintings such as Lautrec’s Moulin Rouge.

Farber is on a journey of trying to find a painter in himself and through his photo images and motives he is tracing his own creative impulses towards fine language of visual art and painting. The Street Light in Soho, is a reminder of how Rembrandt used soft, blurred and warm color tones and the Sunset is worthy enough to be a photographic interpretation of Turner’s atmosphere alterations.

This is not to say that a painting is being turned into a photograph but rather that this author is reaching painting means only through photograph technique. So the result of the picturesque photography and a photographic expression of a painters way we can find in the eminent photographic methods. For example in using contrast of light with the Veermes interiors bathed in sunlight in his Rousseau Atelier or in a pastel color in the Nude from the back in which the photographer captures the softness of woman’s skin and a line of a body posture just like in Big Odalisk of Jean Ingres. Also the unrealistic elements of crystal clear water with 6

the reflection of landscape in an outstanding frame in Cowboy by the Pond. Farber’s mastery of composition in Bonnie on the Floor is composed of predominant shadow which frames the illuminated triangular part of a top left corner with a woman’s body.

Farber is a genuine painter who through photo media presents his ideas and their context while using well-known photo methods of employing blur, softness and light contrast.

As in many American road movies, the photograph Gas Station in Kansas, reminds of images in Jim Jarmusch films. Meanwhile in Moonlight landscape which is composed of array of women’s behind is immune of any vulgarization which reminds of a esthetical revelation of topography of a body in Reisnas movie Hiroshima, mon amour.

Strong nostalgia is featured in black and white photograph Ice $ 1,25, or in glamour of Walking a Dog, or white and black photograph The Girl on the Train.

Bedroom in Maine, is a good example of contrast of light: interior is presented in dim light to contrast the whiteness of the bed placed in between two large window panes.

Mexican Waterfall at intertextual level refers to a particular group of signs much like Eco’s intertextual collages. The extraordinary Farbers feeling for atmosphere like the one in Dreary day is pointed out with the granulation of motives: the composition is horizontally divided into three areas those of sky, sea and sand combined with a big grained structure. Farber’s range of tone is of extreme quality and of wide spectrum. His black tone is the real black-it is dense and saturated. Ultimately, as in Jazz, it evokes moods visually.

No matter if using analogue or digital photography Farber is accomplishing a synthetic quality to those of photography and painting using his pigment printout on a special paper. With every photography of his he is constantly comparing the parameters of these two mediums in an inspiring way.

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PETRA GOLUŠIĆ

uvremeni američki fotograf Robert Farber predstavlja se opusom nastalim od kraja 60-ih godina prošlog stoljeća do danas, a riječ je o fotografijama tematski različitih serija. Kako to fotografi opisuju, fotografiranje je ujedno neograničena tehnika prisvajanja objektivnog svijeta kao i neizbježno solipsistički izraz pojedinca. Fotografije opisuju stvarnosti koje već postoje, iako ih samo objektiv može otkriti. Opisuju i individualni temperament koji se otkriva kroz uokvirene stvarnosti pomoću objektiva.¹ Farberova veza, posredstvom objektiva, s predmetnim svijetom odnosi se na ženski akt, New York, na more i ocean promatrane s obala svijeta, na atmosfere i ljude Amerike, krajobraze Afrike i Meksika... Osim kadrova koji zastupaju četrdesetogodišnje stvaralaštvo izložba u manjoj mjeri sadrži i autorovu komercijalnu fotografiju (modna, reklamna) koja svojom kvalitetom postaje dio umjetničkog diskursa.

Već četiri desetljeća umjetnik se bavi motivom ženskog akta koji je, od samih početaka medija, fotografe fascinirao kao intrigantni, izazovni i kontroverzni sadržaj. Cjelovito, fragmentirano i u skupinama (Aktovi, 1974. - 2006.), on tijelo snima u koncipiranim prizorima u kojima nema mjesta slučajnosti i u kojima je ono oslobođeno od bilo koje drame vremena u kojem se bilježi. Farber slikarskom manirom pristupa subjektu kojeg nerijetko interpretira u maglovitim kadrovima u kojima se gubi oštri obris i granična linija, čime postiže svojevrsnu atmosferu nostalgije i eteričnosti. Objektiv bilježi motiv koji u potpunosti zauzima kadar ili je njegova pozadina svedena na površinu zida, a kad ga snima u određenom prostoru onda je riječ o sobi, livadi, plaži... Model ne gleda u objektiv a lice se rijetko pojavljuje jer je okrenuto prema prostoru unutar slike a koji put je glava izvan ruba kompozicije.

Detalji kose i kože potisnuti su u korist harmonije oblika sažete u kompozicijama u kojima postoji red. Tijelo je uvijek u miru sa sobom te u odnosu na drugo unutar istog kadra, a percipira se kao univerzalni jezik jer njegov individualni identitet nije bitan. Ženu s leđa prikazuje: dok promatra krajolik Montane ili sjenu palme na pijesku Floride, na krevetu povijenog tijela, u polutami... Ponekad prizori u sepia tonu simuliraju davno proživljeno vrijeme te nalikuju na snimke s kraja XIX. stoljeća. U krupnom kadru susrećemo fragmente tijela koji postaju zasebna područja likovnog govora pri čemu se nadilazi doslovna interpretacija te nam je potreban trenutak da bismo shvatili da se radi o leđima žene, njezinom boku, stražnjici... Te kompozicije sadrže slikovitu napetost a događa se pravovremeno zaustavljanje u kadriranju pri čemu cjelovitost tijela nije ugrožena. U tim momentima zapaža se transformacija tijela kao misterija te ono posjeduje ikonografsku dvosmislenost. Tijelo se tretira i kao činjenica i kao metafora.

¹ Susan Sontag: O fotografiji, Naklada EOS, Osijek, 2007., str 88, 89 (s engleskog prevela Ivana Rončević)

Apstrahirano tijelo se prevodi u tajnu u kojoj postaje ornament, simulira oblike Mjesečevog krajobraza, iz tame se pojavljuje prema svjetlu i pritom se mikro slika dijela ljudskog tijela metaforički transformira u makro - pejzažni prizor... U sljedećem trenutku fotograf prelazi u jasnu figuraciju pri čemu je tijelo nosilac imenovanja i priopćavanja ideje umjetnika. Misaono oblikovanje osnovnog sadržaja djela iščitava se kao ritmička orkestracija linija i oblika unutar dijaloga s istančanim kodovima svjetla koje 8

je mekano, blago, maglovito i mistično. Ovdje ništa ne uznemirava, već se autopoetičnim stavom potvrđuje senzualnost čovjeka čiji se prirodni oblici interpretiraju kao forme asocijativnog potencijala.

Motiv umjetnikovog objektiva postaje Amerika (Americana, 1979. - 2007.) i njezinim kadriranjem kreira se linearna dinamika prikazivanja imanentog joj sustava raznolikosti. Ona se Farberu otvara kao prirodni i kulturološki ambijent u detaljima, interijerima, krajobazu, arhitekturi, ljudima... Fotografski fragmenti sadržajno su reducirani i kao tihe senzacije zastupaju individualan doživljaj zemlje u čiju nas tajnovitost i bit upućuju.

Eksterijeri se uglavnom predočavaju kao ambijenti u kojima rijetko susrećemo čovjeka. Oni su posvećeni vratima zatvorenog kina, drvenoj školi, bočnoj fasadi benzinske stanice, pustoj cesti pokraj koje je parkiran De Soto auto, prozirnim zastorima koje zrak pomiče na sušilu ispred drveća, širokoj praznoj autocesti uz koju miruje krava... Kada se bavi unutarnjm jezikom Amerike u njezinim interijerima pronalazi bezvremenost. Tako se bjelina zgužvane posteljine kreveta nastavlja u zastorima prozora između kojih je središnji motiv, Gleason’s boksačka dvorana evocira mir i odavno zaustavljenu dinamiku u vremenu. U njoj je svjetlost sunca jedini aktivni subjekt koji se uvukao u prostor čiji plavi zid tvori misaonost slike a viseća boksačka vreća kao da označuje obožavani simbol, totem. To su samo očaravajući nevažni detalji koji postaju znakovi zemlje o kojoj se pripovijeda.

U ambijentima i atmosferama Amerike često se predočava - praznina (puste ceste, prazne sobe, prostranstva ogoljelih krajobraza...) koja nema negativni karakter (u smislu provokacije, kritike...): ona ne odbija, ona privlači. Ta privlačnost skriva se u metafizičkom karakteru jer se redukcija prikazivanja pojavnosti svijeta svodi na minimalističke kadrove u sadržaju, boji (ne boji) i apstrahiranju (zamagljeni prizori) u kojima se izražava bit. Fotografije kao da postaju polazna misaona točka (lišena suvišnog) iz koje se događa kretanje prema našem unutarnjem monologu.

U New Yorku Farber snima (New York, 1974. - 2011.) krećući se od racionalnog prema imaginarnom i obratno. Sadržaj je katkad kristalno jasan, ali se često njegova pojavnost utiskuje u sfumato autorovog unutarnjeg senzibiliteta kojeg utjelovljuje unutar kadra. Vidimo maglovitu ranojutarnju vedutu Manhattana bez jasnih granica. U njoj se visoke građevine u horizontalnom nizu stapaju u homogenu cjelinu nalik šumi ponad koje dominira nebo, a fotografska slika asocira na impresionizam Monetovog londonskog Parlamenta. Autor fotografira vitičasto ornamentiranu uličnu lampu u Sohou, ljude u Ciklonu na Coney Islandu, veliki travnjak Central Parka, neugledna vrata pored kojih je naslonjen stari bicikl za dostavu Rayove pizze, zgrade u maglovito - sanjarskoj atmosferi tople smeđe u kojoj se jasno iščitava samo neonski natpis Garage, žanrovske scene ljudi iz grada...

Grad je za umjetnika ponajprije emocija, raznovrsnost izvanjskih i duhovnih oblika koji uvijek u sebi sadrže tišinu - koja titra. Ona postaje teritorij subjektivnog gledišta promatrača koje se upućuje prema 9

istančanosti mašte kojom se doživljavaju najtankoćutnije emocije i zamišlja tajanstvena igra života utisnuta u urbani krajolik.

Jedna od umjetnikovih avantura pripisuje se scenama priobalja mora i oceana (Pored mora, 1982. 1998.). Ovdje, u usporedbi s prethodno spomenutim djelima, u potpunosti je prisutna fotografija u boji; Farberov priobalni krajobraz je senzualan, jednostavno kadriran i slikarski percipiran. Umjetnikovi tragovi boravljenja na obalama konceptualno označavaju povezanost udaljenih područja svijeta morima i oceanima, jer sve dolazi iz mora i vraća se u njega, ono je simbol dinamike života, svijeta i ljudske duše. U Portofinu on fotografira pramac crvene barke čiji tamni odraz na površini mora zauzima isto toliko prostora kao i središnji motiv koji izlazi izvan ruba kadra. Plavetnilo mora i bijeli refleksi oblaka na njemu kao da pripadaju jeziku apstraktnog slikarstva. Obalu u Californiji impresionistički doživljava u toplom smeđem tonu gdje bijeli Tihi ocean klizi po plaži dok je u prvom planu osunčana osamljena grana a u pozadini dominira tamnosmeđa stijena - brdo iza koje se u daljini nazire obzor.

Sve što je povezano s kopnom je smeđe (ni nebo nije plavo), a nijanse te boje odaju poniznost krajobraza u svom pustinjaštvu naspram bjeline oceana koji se giba između odsutnosti i prisutnosti.

Slikar W. Kandinski, za kojega je problem boja daleko nadilazio problem estetike, najbolje se izrazio: Bijela je boja, koju često smatramo ne - bojom... poput simbola jednog svijeta gdje su sve boje, kao svojstva materijalnih supstanci, iščezle... Bijelo djeluje na našu dušu poput apsolutne tišine... Ta tišina nije smrt, ona je prepuna živih mogućnosti... To je jedno ništa puno mladenačke radosti ili, bolje rečeno, jedno ništa prije svakog rođenja, prije svakog početka...² Iako je riječ o neposrednom dijalogu s realnim svijetom, vidljivi sadržaj se nerijetko predstavlja kao metafora. U vizualnom metajeziku nema snimke samoga mora (metafora beskraja) jer je uvijek prisutan ili trag čovjeka ili kopno (metafora dovršenosti); a variranjem i fragmentiranjem označava se sposobnost bilježenja pojavnog svijeta čija je zbiljska osnova apsolutna i nedjeljiva. Stoga djela upućuju na ontološka promišljanja, pri čemu obala postaje mjesto spoznaje, a ocean - istina.

Farberovi fragmenti izgleda, pojavnosti i prisutnosti svijeta nerijetko postaju počeci bez kraja jer je u njima trajnost bez vremena. Bilježeni mekim jezikom objektiva, umjetnikovim prepoznatljivim rukopisom, prolazno i promjenjivo interpretiraju u zajednici s općim koje se iskazuje kao njegova bit, pri čemu je naša vizualna, misaona i imaginarna percepcija intenzivirana.

² Jean Chevalier, Alain Gheerbrant: Rječnik simbola, Nakladni zavod Matice hrvatske, Mladost, Zagreb, 1994., str. 40, 41

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Ĺ etnja psa, New York Walking the Dog, New York, 1994

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PETRA GOLUŠIĆ

ontemporary American photographer Robert Farber is presented here with an oeuvre created since the end of the 1960s, through photographs from diverse series of subjects. As photographers describe it, picture-taking is both a limitless technique for appropriating the objective world and an unavoidably solipsistic expression of the singular self. Photographs depict realities that already exist, though only the camera can disclose them. And they depict an individual temperament, discovering itself through the camera’s cropping of reality.1 Farber’s connection, via the lens, with the objective world relates to the female nude, to New York, the sea and ocean observed from the coast, the atmosphere and people of America, the landscapes of Africa and Mexico. In addition to the compositions that represent forty years of work, the exhibition also contains, to a lesser extent, the author’s commercial photography (fashion and advertising), the quality of which confers upon it the status of artistic dialogue.

For four decades the artist has dealt with the motif of the female nude; from the beginnings of the medium, this is a subject, intriguing, provocative and controversial, that has fascinated photographers.

In Nudes, 1974-2006, he shoots the body, complete, fragmented and in groups, in contrived scenes in which there is no place for the accidental and in which it is liberated from any of the drama of the time in which it is recorded. Farber has a painterly manner in his approach to a subject that he quite often interprets in hazy frames, in which the sharpness of contour and border line is lost, a kind of atmosphere of ethereal nostalgia thus being achieved. The lens registers a motif that will totally occupy the composition; or else the background is reduced to the surface of a wall, and when he shoots in a given space, it will be a room, a meadow, the beach... The model does not look at the lens, and indeed the face seldom appears, for it is turned to the space within the frame; sometimes the head is actually outside the border of the composition. Details of hair and skin are played down in favour of harmony of form condensed in compositions in which there is order. The body is always at peace with itself and in relation to the other within the same frame, and it is perceived as universal language, for the individual identity is not essential.

Susan Sontag, On photography, Rosetta, 2005, pp. 95-96

1

He shows a woman from behind - while she is looking at the Montana landscape, or the shadow of a palm on the sand of Florida, on a bed, with curled body, in the penumbra... Sometimes the scenes in sepia tone simulate time experienced long ago and are like photos from the end of the 19th century. In close up, we meet with fragments of a body that become separate areas of visual speech, in which literal interpretation is left behind, and we need a moment to understand if it is about a woman’s back, her flank, her rear... These compositions contain picturesque tension and yet at the due time there is a halt in the cropping, the integrity of the body not being threatened. In these moments one observes the transformation of the body as a mystery, and it possesses the ambiguity of the icon. The body is treated as both fact and metaphor. The abstracted body is translated into a mystery in which there is ornament, the forms of the landscape of the moon are simulated, looming from the darkness, and a micro image of the human body is metaphorically transformed into a macro-landscape scene... The next second, the 12

photographer moves into straightforward figuration, in which the body is the vehicle for the naming and communication of the artist’s idea. The intellectual shaping of the basic content of the work is read off as a rhythmical orchestration of lines and forms within a dialogue with subtle codes of light that is soft and mild, hazy and mystical. Here there is nothing off-putting, rather, with an autopoietic viewpoint, the sensuality of mankind is confirmed, the natural shapes being interpreted as forms of an associative potential. America too becomes a motif for the artist’s lens (in Americana, 1979-2007) and through the framing, a linear dynamics of the presentation of its immanent system of diversity is created. It opens itself up to Farber as a natural and cultural environment in details, interiors, landscape, architecture, people... The photographic fragments are reduced in content, and like quiet sensations represent the individual experience of a land into the secrecy and essence of which they initiate us.

Exteriors are on the whole presented as settings in which we rarely encounter humanity. They are dedicated to the door of a closed cinema, a wooden schoolhouse, the lateral elevation of a petrol station, the empty road by which a De Soto car is parked, the net curtains that the air floats on the drier beneath a tree, a wide and empty motorway by which a cow is standing at rest... When he deals with the internal language of America, he finds infinity in its interiors. Thus the whiteness of crumpled bed linen is continued in the window curtains, between which is the central motif; Gleason’s boxing hall evokes peace and the long-since halted dynamics in time. In it the light of the sun is the only active subject that has crept into the space, the blue wall materialising the thoughtfulness of the picture while the suspended punchbag seems to signify an adored symbol, a totem. These are just fascinating and unimportant details that become signs of the land that is being narrated. In the settings and atmospheres of America it is often emptiness that is represented - the empty roads, empty rooms, the expanses of the bare landscapes - an emptiness that has no negative character, in the sense of criticism or provocation: it does not reject, but attracts. This attraction is hidden in the metaphysical character for the reduction of the representation of the appearance of the world comes down to the minimalist frames in the content, colour (non-colour) and abstraction (the hazy scenes) in which essence is expressed. Photographs seem to become starting points for thinking (devoid of the superfluous) from which movement towards our internal monologue occurs.

Farber shoots in New York (New York, 1974-2011) moving from the rational to the imaginary, and backwards. The content will sometimes be crystal clear, but often its appearance is impressed into the sfumato of the author’s internal sensibility that he embodies within the frame. We see the hazy early morning scene of Manhattan without any clear boundaries. In it the high buildings in the horizontal sequence merge into a homogeneous whole like a forest dominated by the sky above, and the photographic image reminds us of the Impressionism of Monet’s Houses of Parliament. The artist photographs a tendril-ornamented street light in Soho, people in the Cyclone at Coney Island, the great green sward of Central Park, the unprepossessing door alongside which an old bike for 13

the delivery of Ray’s pizza is leaning, buildings in a foggy and dreamy atmosphere of warm brown in which only the neon sign Garage is clearly to be read, genre scenes of people from the city.... For the artist, the city is first of all emotion, a heterogeneity of external and spiritual forms that always holds within itself a shimmering silence. It becomes a territory of subjective viewpoint of the observer that signals the subtlety of the imagination with which the most sensitive and delicate emotions are experienced, the secretive game of life being impressed into the urban landscape is imagined.

One of the artist’s adventures is ascribed to coastal scenes of sea and ocean (Beside the Sea, 1982-1998).

Here, in comparison with the previously mentioned works, colour photography is fully present. Farber’s coastal landscape is sensual, simply framed and perceived in terms of painting. The artist’s traces of sojourns on the coasts conceptually signify the connection of different areas of the world by seas and oceans, for all comes from and returns to the sea, it is the symbol of the dynamics of life, of the world and the human soul. In Portofino he takes a picture of the bow of a red boat the dark reflection of which on the surface of the sea takes up just as much space as the central motif, which goes on beyond the border of the frame. The azure of the sea and the white reflections of the clouds on it seem to belong to the language of abstract painting. He experiences the shores of California in an Impressionist tone of warm brown where the white Pacific slides down the beach, and in the foreground there is a lone sunny branch, while a dark brown rock or hill dominates the background, beyond which in the distance the horizon is glimpsed. Everything connected with the land is brown (not even the sky is blue), and the shades of that colour reveal the humbleness of the landscape in its asceticism as against the white of the ocean that rolls between absence and presence. The painter Kandinsky, for whom the problem of colour went far beyond the problem of aesthetics, expressed himself the best: white is the colour that we often think of as a non-colour... the symbol of a world where all colours, all properties of material substances, have faded out... White affects our spirit like absolute silence... This silence is not death, it is full of living possibilities...

This is a nothing full of youthful joy or, better to say, the nothing before each birth, before each beginning...2 Although this concerns an immediate dialogue with the real world, the visible content is quite often presented as figure of speech. In the visual metalanguage there is no shot of the sea itself (figure for the infinite) for the trace of either man or mainland is always present (figure for finitude); by variation and fragmentation the ability to record the phenomenal world is signified, the real basis of it being absolute and indivisible. Thus the works suggest ontological considerations; the coast becomes a place of cognition, the ocean - truth.

Jean Chevalier, Alain Gheerbrant: Rječnik simbola, Nakladni zavod Matice hrvatske, Mladost, Zagreb, 1994, pp. 40, 41

2

Farber’s fragments of the appearance, phenomenality and presence of the world not infrequently turn into beginnings without an end, for in them there is duration without time. Registered with the soft language of the lens, in the artist’s familiar hand, they interpret the passing and the changeable in common with the general, which is declared as its being, where our visual, intellectual and imaginary perceptions are heightened.

14

Kauboj pokraj jezera, Montana Cowboy By the Pond, Montana, 1997

15

Pored mora, Portofino, Italija

By The Sea, Portofino, Italy, 1984

16

UliÄ?na svjetiljka, Soho, New York Street Lamp, Soho, New York, 1988

17

Rousseauov atelje, Barbizon, France Rousseau Studio, Barbizon, France, 1970

18

Turoban dan, New Jersey Dreary Day, New Jersey, 1982

19

Akt s leđa Nude from the Back, 1992

20

Zalazak sunca u Le Lavendou, Francuska Sunset at Le Lavendou, France, 1982

21

MjeseÄ?ev krajolik Moonscapes, 1979

22

Bonnie na podu Bonnie on the Floor, 1990

23

MeksiÄ?ki vodopad, Meksiko Mexican Waterfall, Mexico, 2011

24

Jazz, New York Jazz, New York, 1984

25

Zgrada Flatiron, New York Flat Iron, New York, 2011

26

Crvene kabine na pla탑i, Santa Margherita, Italija Red Cabanas, Santa Margherita, Italy, 1984

27

IZLOŠCI EXHIBITS AKTOVI NUDES

1. Zameteno snijegom, Pennsylvania / Snow Bound, Pennsylvania, 1974

analogna fotografija u boji / analog colour photography; ink jet pigment print, 48.5x34cm

2. Sama na brdu / Alone on the Hill, 1975

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.5x78cm

3. Ženske obline / Curves, 1978

analogna fotografija u boji / analog colour photography; ink jet pigment print, 91x137cm

4. Mjesečev krajolik / Moonscapes, 1979

analogna fotografija u boji / analog colour photography; ink jet pigment print, 51x74cm

5. Četiri stražnjice / Four Behinds, 1979

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 91x138cm

6. Farberovi aktovi / Farber Nudes, 1981

analogna fotografija u boji / analog colour photography; ink jet pigment print, 71x50.5cm

7. Victor i dvije žene, New York / Victor and Two Women, New York, 1982

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 35x50.5cm

8. Akt ispod šešira / Nude under the Hat, 1982

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 50.5x73cm

9. Torzo / Torso, 1984

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 91x145cm

10. Leđa / Back, 1984

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 42x34cm

11. Bez dozvole za objavljivanje, Milano, Italija / No Model Release, Milan, Italy, 1989 analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.5x35.5cm

12. Odraz na stražnjici / Butt Shadow, 1990

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 75x50.5cm

13. Bonnie na podu / Bonnie on the Floor, 1990

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 73.5x50.5cm

14. Akt kod stupova, Newport, Rhode Island / Nude at the Columns, Newport, Rhode Island, 1990 analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 132.5x91cm

15. Akt s leđa / Nude from the Back, 1992

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.6x75cm

16. Pogled na Montanu, Montana / Seeing Montana, Montana, 1992

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 91x130cm

17. Sanjarski / Dreamy, 1993

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 34.4x49.5cm

18. Mirna soba, New York / Quiet Room, New York, 1994

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 50.5x73.5cm

19. Ispod palme, Miami, Florida / Under the Palm, Miami, Florida, 1994

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.5x34cm

20. Bijeli akt / White Nude, 1994

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 73x50.5cm 28

21. Angie / Angie 1994

analogna fotografija sepia / analog sepia photography; ink jet pigment print, 73.5x50.5cm

22. Dva torza / Two Torsos, 1994

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 91.5x92cm

23. Valorie na kauču / Valorie on the Couch, 1996

analogna fotografija sepia na platnu / analog sepia photography on canvas; ink jet pigment print, 193x269 cm

24. Akt u prozoru / Nude in Window, 1997

analogna fotografija u boji / analog colour photography; ink jet pigment print, 72.8x50.5cm

25. Tri torza / Three Torsos, 1998

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 91x134cm

26. Odostraga / From the Back, 1999

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 50.5x74.5cm

27. Prirodna ljepota / Natural Beauty, 2001

analogna crno-bijela (sepia) fotografija / analog black and white (sepia) photography; ink jet pigment print, 56x50.5m

28. Akt na izvoru sumpora, Toskana, Italija / Nude at Sulfur Spring, Tuscany, Italy, 2006

digitalna crno-bijela fotografija / digital black and white photography; ink jet pigment print, 51x34.5cm

AMERICANA AMERICANA

29. Zalogajnica, Massachusetts / Diner, Massachusetts, 1979

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 91.5x131cm

30. De Soto, Rocport, Maine / De Soto, Rocport, Maine 1981

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 34.5x50cm

31. Spavaća soba, Maine / Bedroom, Maine, 1984

analogna fotografija u boji / analog colour photography; ink jet pigment print, 34.5x49cm

32. Sladoled $1.25, Greenwhich, Connecticut / Ice $1.25, Greenwhich, Connecticut, 1986

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 49.5x34.5cm

33. Zastori na vjetru, Pennsylvania / Blowing Curtains, Pennsylvania, 1991

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 34x55cm

34. Kauboj koji gleda prema dolje, New Mexico / Cowboy Looking Down, New Mexico, 1992 analogna fotografija u boji / analog colour photography; ink jet pigment print, 91.5x92cm

35. Američki domorodac, Montana / Native American Man, Montana, 1992

analogna crno-bijela (sepia) fotografija / analog black and white (sepia) photography; ink jet pigment print, 48x34cm

36. Američka domorotkinja, Montana / Native American Woman, Montana,1992

analogna crno-bijela (sepia) fotografija / analog black and white (sepia) photography; ink jet pigment print, 47.6x34cm

37. Sjevernjački vojnik, Montana / Union Soldier, Montana, 1992

analogna fotografija sepia / analog sepia photography; ink jet pigment print, 48.5x34.5cm

38. Konjica sa zastavom, Montana / Cavalry with Flag, Montana, 1992

analogna crno-bijela (sepia) fotografija / analog black and white (sepia) photography; ink jet pigment print, 33x48cm

39. Školska zgrada, Idaho / School House, Idaho, 1992

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50x34cm 29

40. Smijeh, New York / Laughing, New York, 1994

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 49x34.5cm

41. Štagalj u Montani, Montana / Montana Barn, Montana, 1995

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 34x49cm

42. Kauboj pokraj jezera, Montana / Cowboy By the Pond, Montana, 1997

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.5x77.4cm

43. Repna peraja Cadillaca, Arizona / Caddy Tailfin, Arizona, 1998

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 91x132.5cm

44. Benzinska postaja, Kansas / Gas Station, Kansas, 2001

analogna fotografija u boji / analog colour photography; ink jet pigment print, 34.5x49cm

45. Krava, Texas / One Cow, Texas, 2001

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 50.5x67.5cm

46. Amiški farmer, Pannsylvania / Amish Farmer, Pannsylvania, 2001

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 34x49cm

47. US poštanski sandučić, Pannsylvania / US Mail Box, Pennsylvania, 2001

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 34x51cm

48. Kino Texas, Texas / Texas Cinema, Texas, 2003

digitalna fotografija u boji / digital colour photography; ink jet pigment print, 34x51.5cm

49. Stara zastava, Maine / Old Flag, Maine, 2007

digitalna fotografija u boji / digital colour photography; ink jet pigment print, 152x101.4cm

NEW YORK NEW YORK

50. Horizont New Yorka, New York / NYC Skyline, New York, 1974

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.5x74cm

51. Ciklon, Coney Island, Brooklyn, New York / Cyclone, Coney Island, Brooklyn, New York, 1981 analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 37x35.5cm

52. Kip slobode, New York / Statue of Liberty, New York, 1982

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 50.5x70.8cm

53. Pogled na Twin Towers, New York / Looking at The Twin Towers, New York, 1982

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 35x51.5cm

54. Garaža, New York / Garage, New York, 1985

analogna fotografija u boji / analog colour photography; ink jet pigment print, 35.5x52.5 cm

55. Rayeva pizzerija, New York / Ray’s Pizza, New York, 1987

analogna fotografija u boji / analog colour photography; ink jet pigment print, 51x73cm

56. Ulična svjetiljka, Soho, New York / Street Lamp, Soho, New York, 1988

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 43x34.5cm

57. Hodanje stepenicama u Met - u, New York / Walking the Stairs at the Met, New York, 1988 analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 34x49cm

58. Veliki travnjak u Central parku, New York / Central Park, The Great Lawn, New York, 1992 analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 35.5x52cm 30

59. Teretana Gleason’s, Brooklyn, New York / Gleason’s Gym, Brooklyn, New York, 2000 analogna fotografija u boji / analog colour photography; ink jet pigment print, 34.5x50.5cm

60. Na krovu, New York / On the Roof, New York, 2007

digitalna fotografija u boji / digital colour photography; ink jet pigment print, 49.5x34cm

61. Met navečer, New York / Evening at the Met, New York, 2007

digitalna crno-bijela fotografija / digital black and white photography; ink jet pigment print, 50.5x80.5cm

62. Ispod mosta, Central Park, New York / Under the Bridge, Central Park, New York, 2008 digitalna fotografija u boji / digital colour photography; ink jet pigment print, 53x35.5cm

63. Sat na Empire State zgradi, New York / Empire Clock, New York, 2009

digitalna crno-bijela fotografija / digital black and white photography; ink jet pigment print, 50.5x67.5cm

64. 60. ulica, New York / 60th Street, New York, 2009

digitalna crno-bijela (sepia) fotografija / digital black and white (sepia) photography; ink jet pigment print, 50.5x67.5cm

65. Lutka iz NY-a, New York / NY Mannequine, New York, 2010

digitalna crno-bijela fotografija / digital black and white photography; ink jet pigment print, 51.5x68.5cm

66. Zgrada Flatiron, New York / Flat Iron, New York, 2011

digitalna crno-bijela fotografija / digital black and white photography; ink jet pigment print, 76x50.5cm

67. Zastava na Metu, New York / Flag at the Met, New York, 2011

digitalna crno-bijela fotografija / digital black and white photography; ink jet pigment print, 50.5x72cm

MODA I REKLAMIRANJE FASHION AND ADVERTISING

68. Borba / The Struggle, 1969

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.5x76cm

69. Moulin Rouge, New York, 1975

analogna fotografija u boji / analog colour photography; ink jet pigment print, 34x54cm

70. Žensko rublje iz Bloomingdalesa, New York / Lingerie Bloomingdales, New York, 1978 analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 91x130cm

71. Ispod šešira, New York / Under The Hats, New York, 1978

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 50.5x77cm

72. Gia na klupi, New York / Gia in the Pew, New York, 1978

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 34.5x78cm

73. Zalogajnica Empire, New York / Empire Diner, New York, 1979

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 50.5x71.5cm

74. Gia na osmatračnici / Gia on the Lifeguard Stand, 1979

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 76.5x50.5cm

75. Hollywood / Hollywood, 1982

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 73x50.5cm

76. Jazz, New York / Jazz, New York, 1984

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 39x34cm

77. Praonica rublja / Laundromat, 1994

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.5x71.5cm 31

78. Dvorana za biljar, New York / Pool Hall, New York, 1994

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.5x76cm

79. Šetnja psa, New York / Walking the Dog, New York, 1994

analogna fotografija u boji / analog colour photography; ink jet pigment print, 91x135.5 cm

80. Djevojka u vlaku, Pennsylvania / Girl on the Train, Pennsylvania, 2004

analogna crno-bijela fotografija / analog black and white photography; ink jet pigment print, 34x49.5cm

PEJZAŽ I MRTVA PRIRODA LANDSCAPE AND STILL LIFE

81. Rasvjetno tijelo / Light Fixture, 1969

analogna fotografija u boji / analog colour photography; ink jet pigment print, 77x51cm

82. Šuma Fontainebleau / Forest of Fontainebleau, 1970

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.5x74cm

83. Rousseauov atelje, Barbizon, France / Rousseau Studio, Barbizon, France, 1970 analogna fotografija u boji / analog colour photography; ink jet pigment print, 72.5x50.5cm

84. Turoban dan, New Jersey / Dreary Day, New Jersey, 1982

analogna fotografija u boji / analog colour photography; ink jet pigment print, 49.5x75.4cm

85. Zalazak sunca u Le Lavendou, Francuska / Sunset at Le Lavendou, France, 1982 analogna fotografija u boji / analog colour photography; ink jet pigment print, 76x50.5cm

86. Crvene kabine na plaži, Santa Margherita, Italija / Red Cabanas, Santa Margherita, Italy, 1984 analogna fotografija u boji / analog colour photography; ink jet pigment print, 34x50.5m

87. Uz more, Portofino, Italija / By The Sea, Portofino, Italy, 1984

analogna fotografija u boji / analog colour photography; ink jet pigment print, 51x73cm

88. Stablo iz Afrike, Kenija / African Tree, Kenya, 1986

analogna fotografija u boji / analog colour photography; ink jet pigment print, 51x75.5cm

89. Konji u trku, Francuska / Running Horses, France, 1989

analogna fotografija sepia na platnu / analog sepia photography on canvas; ink jet pigment print, 186.7x269 cm

90. Vjetrovita cesta, Montana / Windy Road, Montana, 1998

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.5x73.7cm

91. Naplavljeno drvo, California / Driftwood, California, 1998

analogna fotografija u boji / analog colour photography; ink jet pigment print, 50.5x75.5cm

92. Meksički vodopad, Meksiko / Mexican Waterfall, Mexico, 2011

digitalna fotografija u boji / digital colour photography; ink jet pigment print, 49.7x74cm

32

Benzinska postaja, Kansas Gas Station, Kansas, 2001

33

S

til Roberta Farbera je utjecao na generacije fotografa. Njegov slikarski, impresionistički stil u stanju je uhvatiti samu srž kompozicije u svakom žanru, što uključuje aktove, mrtve prirode, pejzaže i arhitekturu.

Deset fotografskih Farberovih autorskih knjiga rasprodano je u više od pola milijun primjeraka. Jacqueline Kennedy Onassis dovela je Farbera u Doubleday radi izdavanja njegove knjige By The Sea (Pored mora), koja je dobila nagradu Umjetničkih direktora za fotografiju u boji (Art Director’s award for color photography).

Uz brojne druge nagrade, Robert Farber je dobio nagradu za fotografa godine (Photographer of the Year) koju dodjeljuje udruga fotografa (PMA - Photographic Manufacturers Association), te međunarodnu nagradu udruge američkih fotografa i profesionalnih fotografa (ASP International Award from the PPA - Professional Photographers of America and The American Society of Photographers). Ova nagrada dodjeljuje se onima koji su napravili značajan doprinos znanosti i umjetnosti fotografije. Neki od prethodnih dobitnika su izumitelj Polaroida Dr. Edwin Land, George Hurrell i časopis National Geographic. Farberov rad s aktovima u umjetnosti i reklamnom carstvu je poznat i cijenjen. Predavao je za Ogilvy & Mather o temi Akt u reklami. Udruzi ASMP (American Society of Media Photographers) Farberovi aktovi su bili umjetnički primjeri u cilju podržavanja tada kontroverznih fotografija Mapplethorpea i Serrana. Knjiga Farber Nudes (Farberovi aktovi) uključena je u osobnu kolekciju Jacqueline Kennedy Onassis. Farberove umjetničke fotografije često se objavljuju i izlažu u muzejima i galerijama diljem svijeta. Predavao je na Smithsonian Institute, The George Eastman House, kao i na sveučilištima i za profesionalne udruge diljem SAD-a, Japana, Australije i Europe. Osim umjetničke fotografije, Robert Farber bavi se modnom kampanjom, reklamom i režiranjem filmova. U produkciji američkog PBS-a započeo je snimanje dokumentarnog filma o vlastitom profesionalnom radu.

R

ROBERT FARBER 29. II. 1944., Newark, New Jersey www.farber.com

obert Farber’s style has influenced generations of photographers. His painterly, impressionistic style captures the essence of composition in every genre, including nudes, still life, landscapes and architecture.

His ten photo art books have sold over half a million copies. Jacqueline Kennedy Onassis brought Farber into Doubleday for the publication of his book By The Sea, which won the Art Director’s ward for color photography. Aside from numerous creative awards, Robert Farber also received the Photographer of the Year from PMA (Photographic Manufacturers Association), ASP International Award from the PPA (Professional Photographers of America) and The American Society of Photographers. This award was given to those who’ve made a significant contribution to the science and art of photography. Some previous recipients of this award include Dr. Edwin Land (inventor of the Polaroid), George Hurrell and National Geographic. Farber’s work with nudes in fine art as well as in the commercial realm is known and respected. He has lectured for Ogilvy & Mather on the Nude in Advertising. ASMP requested to use Farber’s nudes as an examples of the artistic application in support of the National Endowment of Arts, after its backing of the controversial Mapplethorpe/Serrano exhibit. His book, Farber Nudes, was also included the Jacqueline Kennedy Onassis estate collection. Farber’s fine-art photographs have been published in virtually every form. Farber has exhibited in galleries and museums world-wide. He’s lectured at the Smithsonian Institute, The George Eastman House, as well as universities and professional groups throughout the United States, Japan, Australia and Europe. Aside from his fine art photography, Robert Farber’s work encompasses major campaigns for fashion, beauty and advertising, as well as film directing for TV and Film. Robert has recently been approached for a film documenting his life as a photographer which is to be produced for PBS in the USA.

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Žena u bijelom satenu Woman in White Satin

KNJIGE BOOKS Robert Farber: Visual Sample, RDO Editions, 2012 Robert Farber: Our Mexico, RDO Editions, Limited, 2011 Robert Farber: Natural Beauty, Merrell; 2001, 2004 Robert Farber: American Mood, Merrell, 2004 Robert Farber: By the Sea, Melrose, 1984; Revision Amphoto Art, 1994 Robert Farber: Classic Farber Nudes, Watson-Guptill, 1991 Robert Farber: The Fashion Photographer, Amphoto, 1981, 1984 Robert Farber: Farber Nudes, Columbus UK, & Watson-Guptill, 1983 Robert Farber: Moods, Amphoto, 1980 Robert Farber: Professional Fashion Photography, Amphoto; 1978, 1983 Robert Farber: Images of Woman, Amphoto; 1976, 1979 35

IZDAVAČ / PUBLISHER Umjetnička galerija Dubrovnik Museum of Modern and Contemporary Art Dubrovnik Frana Supila 23, 20 000 Dubrovnik Hrvatska / Croatia ZA IZDAVAČA, UREDNICA FOR THE PUBLISHER, EDITOR mr. sc. Vesna Delić Gozze TEKSTOVI KATALOGA / TEXTS Vesna Delić Gozze Petra Golušić GRAFIČKO OBLIKOVANJE GRAPHIC DESIGN Marin Gozze POSTAV IZLOŽBE EXHIBITION LAYOUT Vesna Delić Gozze LEKTURA / PROOF READING Irja Jerković PRIJEVOD / TRANSLATION Graham McMaster Mira Ovanin Nikolina Rajić TEHNIČKI POSTAV TEHNICAL LAYOUT Ivo Mladošić Željko Sušić TISAK / PRINTING ALFA-2 d.o.o.

Dubrovnik, CROATIA NAKLADA / COPIES 300 ISBN 978-953-7271-22-0 CIP zapis dostupan u računalnom Skupnom katalogu hrvatskih knjižnica pod brojem 530405103

OSTVARENJE IZLOŽBE I TISAK KATALOGA OMOGUĆIO JE GRAD DUBROVNIK THE REALISATION OF THE EXIBITION AND THE PRINTING OF THE CATALOGUE HAS BEEN MADE POSSSIBLE BY CITY OF DUBROVNIK © www.ugdubrovnik.hr