Konstfacks bibliotek

*00002080nam a22004697a 4500
*00128343
*00520131028165139.8
*007|||||||||||||||||||||||
*008110824s2010    gw a   | bc   000 0 eng d
*020  $a978-3-7757-2490-6
*020  $a3-7757-2490-7
*035  $a(Ko)32512
*084  $aInb-qa.55
*1001 $aMoore, Kevin D.,$d1964-
*24510$aStarburst :$bcolor photography in America 1970-1980  /$cKevin Moore ; with essays by James Crump and Leo Rubinfien.
*260  $aOstfildern  :$bHatje Cantz ,$ccop. 2010
*300  $a271 p.  :$bcol. ill.  :$c30 cm.
*500  $aPublished in conjunction with an exhibition held at the Cincinnati Art Museum, Feb. 13-May 9, 2010.
*500  $a"A paperback edition is available in the museum only"--Colophon.
*504  $aIncludes bibliographical references.
*505  $tForeword / Aaron Betsky -- Starburst : color photography in America 1970-1980 / Kevin Moore -- Colors of daylight / Leo Rubinfien -- Post-chromatic shock : contemporary art photography after 1980 / James Crump -- Plates : Robert Heinecken, Stephen Shore, Mitch Epstein, Helen Levitt, Joel Meyerowitz, Eve Sonneman, Neal Slavin, Les Krims,  Joel Sternfeld, William Christenberry, William Eggleston, Jan Groover, Barbara Kasten, John Divola, John Pfahl, Richard Misrach, Harry Callahan, Leo Rubinfien -- Notes -- Chronology of color photography and the 1970s -- List of plates -- Acknowledgments.
*650 4$aColor photography
*650 4$aExhibitions.
*650 4$aHistory
*650 4$a20th century
*650 4$aUnited States
*650 4$aFotografi
*650 4$autställningskataloger
*650 4$ahistoria
*650 4$a1970-talet
*650 4$aFörenta staterna
*650 4$aFärgfotografi
*650 4$aFotokonst
*7001 $aCrump, James$4ctb
*7001 $aRubinfien, Leo$4ctb
*7101 $aCincinnati Art Museum
*7101 $ai Art Museum$4oth
*8520 $hFOTOGRAFI - Inb-q
^

It is hard to imagine today that the artistic value of color photography was once questioned and controversial, even as recently as the 1980s. William Eggleston's watershed exhibition at The Museum of Modern Art, New York, in 1976, generated plenty of scorn and confusion, as spectators struggled to accept his seemingly ordinary-looking color images of Southern life as art. Early photographs by Stephen Shore, Helen Levitt, Joel Meyerowitz and others received similarly hostile or ambivalent reviews. Color photography also had opponents within photography, most notoriously in Henri Cartier-Bresson. But as color processes both diversified and grew more sophisticated, and further approaches to the medium developed, the floodgates were opened wide. Starburst examines the first great practitioners of artistic color photography in the United States: Eggleston, Shore, Levitt, Meyerowitz, plus Joel Sternfeld, William Christenberry, John Divola, Mitch Epstein, Jan Groover, Robert Heinecken, Barbara Kasten, Les Krims, Richard Misrach, John Pfahl, Leo Rubinfien, Neal Slavin, Eve Sonneman and many more. Grounded in reviews of sources from the 1970s, and with an abundance of images, this survey makes a thorough assessment of this paradigm shift in the history of art photography.