A love letter to Los Angeles through the lens of a pastel postmodernism

Turning the spatial flotsam of the Anthropocene, or what architect Rem Koolhaas famously referred to as "junkspace," into candy-colored dreamscapes, photographer George Byrne depicts the gritty urbanism of Los Angeles in sublime otherworldliness. Arriving a decade ago, the Australian artist was immediately enthralled by the sprawling cityscape, mesmerized by the way the sunlight transformed it into two-dimensional, almost painterly abstractions.

In his Post Truth series (2015–20), Byrne reassembles his photos of the urban

landscape into striking, ascetic collages of color and geometric fragments, creating postmodernist oases in the metropolis. By masterfully harnessing the malleability of the photographic medium, the photographer situates his work in the space between real and imagined. Byrne's compositions evoke associations with Miami Beach's Art Deco, the Memphis Group's designs, as well as the painting of David Hockney or Ed Ruscha, and at the same time tap into the aesthetics of today's visual culture played out on Instagram.

This vibrantly illustrated catalog showcases more than 60 images from the series and features text by the design writer Ian Volner, as well as a foreword by Byrne himself.

通过梦幻糖果色的后现代主义镜头写给洛杉矶的一封情书

摄影师乔治·伯恩（George Byrne）将人类世的空间碎片，或者建筑师雷姆·库哈斯（Rem Koolhaas）提出的知名的“垃圾空间”，变成了糖果色的梦境，以超凡脱俗的方式描绘了洛杉矶粗犷的城市主义。十年前，这位澳大利亚摄影师来到洛杉矶，立即被这里无垠的城市景观所吸引，因阳光将其转化为二维的、几乎是绘画般的抽象而着迷。在他的《后真实》系列（2015-2020）中，伯恩将他的城市景观照片重新组合成引人注目的、禁欲主义的色彩和几何碎片拼贴画，在大都市中创造出后现代主义的绿洲。通过巧妙利用摄影媒介的可塑性，伯恩将他的作品置于真实和想象的空间中。伯恩的作品让人联想起迈阿密海滩的装饰艺术、孟菲斯集团的设计以及大卫·霍克尼（David Hockney）或埃德·鲁沙（Ed Ruscha）的绘画，同时也挖掘了今天Instagram的视觉文化美学。

这本图文并茂的目录展示了该系列的60多张图片，并配有设计作家伊恩·沃尔纳（Ian Volner）的文字，以及伯恩本人的前言。