Buildings inhabit and symbolize time, giving form to history and making public space an index of the past. Photographs are made of time; they are literally projections of past states of their subjects. This visually striking ...
Photographs have a strange and powerful way of shaping the way we see the world and influencing our perceptions of reality. To demonstrate the unique and profound influence on culture and society that photographs have, Photo Icons puts the most important landmarks in the history of photography under the microscope.
In Stieglitz: A Beginning Light, Katherine Hoffman presented an account of the early years of the career of Alfred Stieglitz (1864-1946) and of his European roots. Now, she offers a compelling portrait of his life and art from 1915 to 1946, focusing on his American works, issues of identity, and the rise of modernism in America.
Hoffman explores Stieglitz's roles as photographer, editor, writer, and gallery director; how they intersected with his personal life - including his marriage to artist Georgia O'Keeffe - and his place in the cultural milieu of the 20th century.
Blurring the boundary of real and surreal, Altered Images features never-before-seen digital photography masterpieces while also giving a voice to the visionaries who created them. This arresting book hones in on those emerging contemporary artists who are pushing post-production image creativity to its limits.
Events Ashore began when the artist was invited to photograph US naval ships preparing for deployment to Iraq, the first in a series of visits to battleships, humanitarian missions in Africa and Asia, training exercises, and scientific missions in the Arctic and Antarctic.
A Japanese power plant, dilapidated slums, the patterned facades of an apartment complex in Paris--in the work of German art photographer Andreas Gursky, born in 1955 in Leipzig, both private dwellings and the domains of industrial and political power are made into sometimes awe-inspiring and always overpowering forces of urban life. Gursky's signature mix of epic sweep and extreme detail is ideally suited to the portrayal of large-scale architecture, eliciting its most salient features: The capacity to dwarf, to impress, to alienate and to daunt. Where many of us will habitually blank out architectural environments which cannot be accommodated by the naked eye, Gursky's approach is to photograph them in order to render them comprehensible: "My preference for clear structures is the result of my desire, perhaps illusory, to keep track of things and maintain my grip on the world." Architecture is a collection of breathtaking images by the world-famous photographer, taken between 1988 and the present day, and treating all aspects of architectural structure, from the inside out. Each of the 75 color photographs is accompanied by commentary by renowned German authors Aleida Assmann, Jan Assmann, Elisabeth Bronfen, Sonja Fessel, Paul Nizon, Alfred Nordmann, Mirjam Schaub, Rudolf Schmitz, Monika Schmitz-Emans, Peter Schneemann and Thomas Zaunschirm. The resulting conjunction of text and image attractively demonstrates the depth and breadth of Gursky's concept of architecture.
Art and Photography David Campany
Phaidon Press, Inc.
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On its invention, the photograph was considered a purely mechanical, 'artless' object which could not belong among the fine arts. Despite its increasing use by the century's most significant artists, only since the late 1960s have art museums gradually begun to exhibit and acquire the photograph as an artwork. Today, though it took the whole of the last century for it to acquire its status, photography is art's pre-eminent medium.
The American photographer Berenice Abbott (1898?1991) is known best for her documentation of New York in the 1930s and for her efforts to gain recognition for the work of Eugène Atget in both Europe and the United States. By detailing Abbott's influences and production both home and abroad, Berenice Abbott underscores the photographer's role as one of the 20th century's most remarkable artists.
Bernd and Hilla Becher's photography can be considered conceptual art, typological study, and topological documentation. Their work can be linked to the Neue Sachlichkeit movement of the 1920s and to such masters of German photography as Karl Blossfeldt, August Sander, and Albert Renger-Patzsch. Their photographs documenting the architecture of industrial structures, taken over the course of forty years, make up the most important body of work to be found in independent objective photography. This volume adds cooling towers to a list of photographic projects that includes book-length studies of water towers, blast furnaces, gas tanks, mineheads, and frame houses.