Why photography matters as art as never before
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Exemplaarnummer Plaatscode Signatuur R015475 Ned. Fotomuseum $T FRIED.M 2008
TitelWhy photography matters as art as never before
Auteur
Plaats van uitgaveNew Haven
UitgeverYale University Press
Jaar van uitgave2008
Pagina'six, 409 p.
IllustratiesZwart-Wit en kleur
Formaat29 x 22 cm.
MateriaalTekstboek
DocumenttypeBoek
ISBN97803001368450300136846
Elektronisch document
Annotatiehc; includes bibliographical references (p. 353-397) and index.
Samenvatting
We cite from the cover:
"From the late 1970s'onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship between the photograph and the viewer standing before it that until then had been the province only of painting. Fried further demonstrates that certain philosophically deep problems, associated with notions of theatricality, literalness, and objecthood, and touching on the role of original intention in artistic production, first discussed in his controversial essay "Art and Objecthood" (1967), have come to the fore once again in recent photography. This means that the photographic "ghetto" no longer exists - instead photography is at the cutting edge of contemporary art as never before."
"Among the photographers and video-makers whose work receives serious attention in this powerfully argued book are Jeff Wall, Hiroshi Sugimoto, Cindy Sherman, Thomas Struth, Thomas Ruff, Andreas Gursky, Luc Delahaye, Rineke Dijkstra, Patrick Faigenbaum, Roland FischerThomas Demand, Candida Höfer, Beat Streuli, Philip-Lorca diCorcia, Douglas Gordon and Philippe Parreno, James Welling, and Bernd and Hilla Becher Future discussions of the new art photography will have no choice but to take a stand for or against Frieds conclusions."
Contents:
Introduction: Heidegger, "The Origin of the Work of Art"
Chapter 1: Three Beginnings
Chapter 2: Jeff Wall and Absorption
Chapter 3: Jeff Wall, Wittgenstein and the Everyday
Chapter 4: Barthes's Punctum
Chapter 5: Thomas Struth's Museum Phtographs
Chapter 6: Jean-Francois Chevrier on the "Tableau Form"
Chapter 7: Portraits by Thomas Struth, Rineke Dijkstra, Patrick Faigenbaum, Luc Delahaye, and Roland Fischer. Douglas Gordon and Philippe Parreno's Film "Zidane"
Chapter 8: Street Photography Revisited
Chapter 9: Thomas Demand's Allegories of Intention
Chapter 10: "Good" Versus "Bad" Objecthood
Conclusion: Why Photography Matters As Art As Never Before
"From the late 1970s'onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship between the photograph and the viewer standing before it that until then had been the province only of painting. Fried further demonstrates that certain philosophically deep problems, associated with notions of theatricality, literalness, and objecthood, and touching on the role of original intention in artistic production, first discussed in his controversial essay "Art and Objecthood" (1967), have come to the fore once again in recent photography. This means that the photographic "ghetto" no longer exists - instead photography is at the cutting edge of contemporary art as never before."
"Among the photographers and video-makers whose work receives serious attention in this powerfully argued book are Jeff Wall, Hiroshi Sugimoto, Cindy Sherman, Thomas Struth, Thomas Ruff, Andreas Gursky, Luc Delahaye, Rineke Dijkstra, Patrick Faigenbaum, Roland FischerThomas Demand, Candida Höfer, Beat Streuli, Philip-Lorca diCorcia, Douglas Gordon and Philippe Parreno, James Welling, and Bernd and Hilla Becher Future discussions of the new art photography will have no choice but to take a stand for or against Frieds conclusions."
Contents:
Introduction: Heidegger, "The Origin of the Work of Art"
Chapter 1: Three Beginnings
Chapter 2: Jeff Wall and Absorption
Chapter 3: Jeff Wall, Wittgenstein and the Everyday
Chapter 4: Barthes's Punctum
Chapter 5: Thomas Struth's Museum Phtographs
Chapter 6: Jean-Francois Chevrier on the "Tableau Form"
Chapter 7: Portraits by Thomas Struth, Rineke Dijkstra, Patrick Faigenbaum, Luc Delahaye, and Roland Fischer. Douglas Gordon and Philippe Parreno's Film "Zidane"
Chapter 8: Street Photography Revisited
Chapter 9: Thomas Demand's Allegories of Intention
Chapter 10: "Good" Versus "Bad" Objecthood
Conclusion: Why Photography Matters As Art As Never Before
| Exemplaarnummer | R015475 |
| Instellingsnaam | |
| Signatuur | $T FRIED.M 2008 |