Konstfacks bibliotek

   
Why photography matters as art as never before
Komihåglistan är tom
Vis
Hylla
  • FOTOGRAFI - In
Personnamn
Titel och upphov
  • Why photography matters as art as never before
Utgivning, distribution etc.
  • Yale University Press , New Haven, Conn. ; London ; 2008 : 2008
Utgivningsår
  • 2008
  • Språk: Engelska.
SAB klassifikationskod
Fysisk beskrivning
  • 409 s.
Anmärkning: Bibliografi etc.
  • Includes bibliographical references and index
Term
ISBN
  • 978-0-300-13684-5 (hbk.)
  • 978-0-300-13684-5
  • 0-300-13684-6 (hbk.)
  • 0-300-13684-6 :
Antal i kö:
  • 0 (0)
*00001010nam a22003377a 4500
*00126597
*007|||||||||||||||||||||||
*008110824s2008    ctua   | b    001 0 eng c
*020  $a978-0-300-13684-5 (hbk.)
*020  $a978-0-300-13684-5
*020  $a0-300-13684-6 (hbk.)
*020  $a0-300-13684-6  :$c£30.00
*035  $a(Ko)30664
*040  $dStDuBDS$deng$dStDuBDS
*084  $aIn
*084  $aInb.55
*1001 $aFried, Michael
*24510$aWhy photography matters as art as never before  /$cMichael Fried
*260  $aNew Haven, Conn. ;$aLondon ;$a2008 :$bYale University Press ,$c2008
*300  $a409 s.
*504  $aIncludes bibliographical references and index
*650 4$aFotokonst
*650 4$aPhotography
*650 4$aPhilosophy
*697  $cKonst, musik, teater och film
*697  $cKonst, musik, teater och film
*8520 $hFOTOGRAFI -  In
*950  $aPhotography, Artistic
^
Det finns inga omdömen till denna titeln.
Klicka här för att vara den första som skriver ett omdöme.

A renowned critic and historian offers a radically new account of the meaning of ambitious art photography since the Bechers



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 Fischer, Thomas 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 Fried's conclusions.

Sänd till
Ex.namnStatusFörfallodagTillhörPlatsHylla
 Tillgängligt Konstfacks bibliotek FOTOGRAFI - In