Why photography matters as art as never before:
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New Haven, Conn. [u.a.]
Yale Univ. Press
2008
|
| Subjects: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017034611&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017034611&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Item Description: | Hier auch später erschienene, unveränderte Nachdrucke Includes bibliographical references and index |
| Physical Description: | IX, 409 S. zahlr. Ill. |
| ISBN: | 9780300136845 |
Staff View
MARC
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| 100 | 1 | |a Fried, Michael |d 1939- |e Verfasser |0 (DE-588)123555299 |4 aut | |
| 245 | 1 | 0 | |a Why photography matters as art as never before |c Michael Fried |
| 264 | 1 | |a New Haven, Conn. [u.a.] |b Yale Univ. Press |c 2008 | |
| 300 | |a IX, 409 S. |b zahlr. Ill. | ||
| 336 | |b txt |2 rdacontent | ||
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| 500 | |a Hier auch später erschienene, unveränderte Nachdrucke | ||
| 500 | |a Includes bibliographical references and index | ||
| 520 | 1 | |a "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 Hofer, 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."--Book jacket. | |
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Record in the Search Index
| _version_ | 1819331833539592192 |
|---|---|
| adam_text | PREFACE AND ACKNOWLEDGMENTS VIII INTRODUCTION I 1 THREE BEGINNINGS 5 2
JEFF WALL AND ABSORPTION; HEIDEGGER ON WORLDHOOD AND TECHNOLOGY 3 7 3
JEFF WALL, WITTGENSTEIN, AND THE EVERYDAY 63 4 BARTHES S PUNCTUM 95 5
THOMAS STRUTH S MUSEUM PHOTOGRAPHS 115 6 JEAN-FRANCOIS CHEVRIER ON THE
TABLEAU FORM ; THOMAS RUFF, ANDREAS GURSKY, LUC DELAHAYE 143 7
PORTRAITS BY THOMAS STRUTH, RINEKE DIJKSTRA, PATRICK FAIGENBAUM, LUC
DELAHAYE, AND ROLAND FISCHER; DOUGLAS GORDON AND PHILIPPE PARRENO S FILM
ZIDANE 191 8 STREET PHOTOGRAPHY REVISITED: JEFF WALL, BEAT STREULI,
PHILIP-LORCA DICORCIA 23 5 9 THOMAS DEMAND S ALLEGORIES OF INTENTION;
EXCLUSION IN CANDIDA HOFER, HIROSHI SUGIMOTO, AND THOMAS STRUTH 261 10
GOOD VERSUS BAD OBJECTHOOD: JAMES WELLING, BERND AND HILLABECHER,
JEFF WALL 303 CONCLUSION: WHY PHOTOGRAPHY MATTERS AS ART AS NEVER BEFORE
335 NOTES 353 PHOTOGRAPH CREDITS 398 INDEX 399
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 cen¬
tering 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
[hormas
Demand, Candida
Höfen
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.
|
| any_adam_object | 1 |
| author | Fried, Michael 1939- |
| author_GND | (DE-588)123555299 |
| author_facet | Fried, Michael 1939- |
| author_role | aut |
| author_sort | Fried, Michael 1939- |
| author_variant | m f mf |
| building | Verbundindex |
| bvnumber | BV035228624 |
| callnumber-first | T - Technology |
| callnumber-label | TR642 |
| callnumber-raw | TR642 |
| callnumber-search | TR642 |
| callnumber-sort | TR 3642 |
| callnumber-subject | TR - Photography |
| classification_rvk | AP 94500 AP 94750 AP 94850 |
| ctrlnum | (OCoLC)216936075 (DE-599)BVBBV035228624 |
| dewey-full | 770.1 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 770 - Photography, computer art, cinematography |
| dewey-raw | 770.1 |
| dewey-search | 770.1 |
| dewey-sort | 3770.1 |
| dewey-tens | 770 - Photography, computer art, cinematography |
| discipline | Kunstgeschichte Allgemeines |
| era | Geschichte 1976-2008 gnd Geschichte 1970-2006 gnd |
| era_facet | Geschichte 1976-2008 Geschichte 1970-2006 |
| format | Book |
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| id | DE-604.BV035228624 |
| illustrated | Illustrated |
| indexdate | 2024-12-20T13:26:22Z |
| institution | BVB |
| isbn | 9780300136845 |
| language | English |
| lccn | 2008019019 |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-017034611 |
| oclc_num | 216936075 |
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| owner_facet | DE-12 DE-B170 DE-384 DE-11 DE-188 DE-473 DE-BY-UBG DE-Aug4 |
| physical | IX, 409 S. zahlr. Ill. |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Yale Univ. Press |
| record_format | marc |
| spellingShingle | Fried, Michael 1939- Why photography matters as art as never before Philosophie Photography, Artistic Photography Philosophy Ästhetik (DE-588)4000626-8 gnd Fotografie (DE-588)4045895-7 gnd Kunst (DE-588)4114333-4 gnd |
| subject_GND | (DE-588)4000626-8 (DE-588)4045895-7 (DE-588)4114333-4 |
| title | Why photography matters as art as never before |
| title_auth | Why photography matters as art as never before |
| title_exact_search | Why photography matters as art as never before |
| title_full | Why photography matters as art as never before Michael Fried |
| title_fullStr | Why photography matters as art as never before Michael Fried |
| title_full_unstemmed | Why photography matters as art as never before Michael Fried |
| title_short | Why photography matters as art as never before |
| title_sort | why photography matters as art as never before |
| topic | Philosophie Photography, Artistic Photography Philosophy Ästhetik (DE-588)4000626-8 gnd Fotografie (DE-588)4045895-7 gnd Kunst (DE-588)4114333-4 gnd |
| topic_facet | Philosophie Photography, Artistic Photography Philosophy Ästhetik Fotografie Kunst |
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