Last Call by Harry Gruyaert
Size: 241.3 x 325.12 mm
Pages: 96 pp
Published by: Thames & Hudson
Alongside American photographers such as Saul Leiter, Joel Meyerowitz, Stephen Shore, and William Eggleston, Harry Gruyaert became one of the first European pioneers to explore the creative possibilities of color photography in the 1970s and 1980s. The previous decades had elevated black-and-white photography to the realms of art, relegating the use of colour to advertising, press, and illustration. Gruyaert’s work suggested new territory for colour photography: an emotive, non-narrative, and boldly graphic way of perceiving the world.
Last Call highlights the photographer’s signature ability to seamlessly weave texture, light, colour, and architecture into a single frame with his photographs taken at airports. These photographs beautifully record these liminal, yet reliably inhabited spaces in a striking and sometimes surprising fashion.
I’ve always been fascinated by places where people wait, I love to watch their movements, their postures, their gazes, the groups that they form, the situations that occur in those peculiar moments when time is standing still. Airports are special places because they have a remarkable theatricality about them. The architecture, the furniture and the colours combine to make a set, with a host of players gliding through as though they’re on a stage. It’s like a performance that I can’t begin to understand, but its visual dimension always draws me in.
– Harry Gruyaert
An appreciation of airports, showcasing nearly 40 years of Gruyaert’s rich color photography… The crisp lines and forms of modern airport architecture provide a framework for compelling compositions… Gruyaert…was a pioneer in exploring the creative possibilities of color photography. His prowess is on full display in Last Call.
– PhotoBook Journal