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拍品專文
'How can photography deal with Peter Beard? He is a self-proclaimed amateur who periodically careens like a fireworks pinwheel into the decorous scheme of things, strewing incandescent images and making earnest barn-side photographers and seekers-after-grants look plodding and ordinary. Even as his pictures force themselves into the most protected preserves of our minds, he insists that they are incidental, nothing more than the most convenient medium for his narrative purposes. Yet despite his blue-blooded offhandedness, Beard can no longer easily be ignored.
What started as a schoolboy jaunt in the general direction of adventure has become a photographic odyssey across a vast landscape of death. He is not talking about conserving a few species... what he is showing us in his pictures is far more than Kenya and elephants; he is showing us downtown Detroit, the South Bronx, the earth and ourselves... By this measure, Peter Beard's massive gray monoliths, gutted and rotting on their self-made desert, are photographic art at its most transfiguring. Even more terrifying, they are the shapes of things to come. - Owen Edwards, writing in 1975, quoted in Bowermaster, The Adventures and Misadventures of Peter Beard in Africa, Bulfinch, 1993, p. 152
What started as a schoolboy jaunt in the general direction of adventure has become a photographic odyssey across a vast landscape of death. He is not talking about conserving a few species... what he is showing us in his pictures is far more than Kenya and elephants; he is showing us downtown Detroit, the South Bronx, the earth and ourselves... By this measure, Peter Beard's massive gray monoliths, gutted and rotting on their self-made desert, are photographic art at its most transfiguring. Even more terrifying, they are the shapes of things to come. - Owen Edwards, writing in 1975, quoted in Bowermaster, The Adventures and Misadventures of Peter Beard in Africa, Bulfinch, 1993, p. 152