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Photography as Painting

This book is the first presentation of Per Fronth's (1963) art works collected between two covers. With his background as a photojournalist for the Norwegian newspaper Verdens Gang, Fronth is representing an artisitic expression characterized by a photographer's curiosity. As a storyteller Fronth's journalistic background functions as a unique platform for his artisitc work exemplified by his latest project - an art-project about the Norwegian forces in Afghanistan.

Per Fronth began his artistic career in New York, where he lived and worked from the late 1980s to 2002. By allowing his photo-documentary projects to be challenged by the painterly way of telling a story, he developed his own visual world, made visible in a number of controversial and successful exhibitions.

This book illustrates Per Fronth's approach to his own works, the stories and the themes that are the basis for his artistic and photographic direction - from his first exposures as a young photojournalist documenting the Alexander Kielland oil-rig disaster in the North Sea, to his collaboration with the Rainforest Foundation that led to his successful exhibition Xingu Chronicles in New York 1998.

Since then he has created a number of major projects such as Lifedreams, Bloodlines - The Duke of Beauforts Foxhunt and Archipelago. The latter series refers to the 9/11 attack on New York 2001 and thus is representative of Fronth's project through 20 years: Being an eyewitness, and to reconstruct photojournalism as visual art. The book is written by the art historian Cecilie Tyri Holt, and is introduced by an essay written by the American art critic, Professor of Photography and English Literature, John August Wood.