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Titel och upphov Samar as : the photographs of Lucas Samar as
Utgivning, distribution etc. Aperture Foundation , New York ; 1987 : cop. 1987
Utgivningsår
SAB klassifikationskod
Fysisk beskrivning 183 s. : ill. (huvudsakligen i färg)
Personnamn
Indexterm - Okontrollerad
ISBN
Antal i kö:
*00000766nam a22002653 45
*0013000
*007|||||||||||||||||||||||
*008110824s1987 e a ||| ||eng||
*020 $a0893812412
*020 $a0893812412
*035 $a(Ko)3239
*084 $aInz Samar as, Lucas
*1001 $aSamar as, Lucas
*24510$aSamar as :$bthe photographs of Lucas Samar as /$cessay by Ben Lifson
*260 $aNew York ;$a1987 :$bAperture Foundation ,$ccop. 1987
*300 $a183 s. :$bill. (huvudsakligen i färg)
*60014$aSamar as, Lucas,$d1936-
*653 $aFotokonst
*653 $aFörenta staterna
*697 $cSärskilda fotografer
*7001 $aLifson, Ben$4aut
*8520 $cInz Samar as, Lucas
*950 $aPhotography, Artistic
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Photographer, painter, sculptor, Lucas Samaras is one of the most influential and provocative artists of our time. Once again available to readers, this long out-of-print volume presents a thorough compilation of Samara's photographic work, beginning with his earliest "Auto-Polaroids." This exhaustive body of work paved the way for a generation of contemporary photo-artists, expanding the expressive possibilities of the medium. Using Polaroid materials, large--sometimes life-sized--formats, manipulated imagery, and composites, Samaras helped forge a vocabulary employed by artists and photographers throughout the eighties. In his most profound achievement, he adopted one of photography's basic genres--portraiture--and used it as a basis for an inquiry into the self, which remains unmatched in its intensity and boundless in its ramifications. Photography critic Ben Lifson provides a trenchant critique and history of Samaras's work. "Samaras split himself into model, actor, director, audience, and critic," Lifson writes. "To each of these roles he brought a skilled artist's hand an an eye deeply informed by the historical traditions and motifs of art and by the vernacular and popular traditions of photography. He became a rare figure in American art, not an artist who occasionally uses photography for tactical reasons . . . but an artist who made photography central to his aesthetic campaign."