Why Photography Matters As Art As Never Before

ISBN-10: 0300136846
ISBN-13: 9780300136845
Edition: 2008
Authors: Michael Fried
List price: $60.00
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Description: 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  More...

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Book details

List price: $60.00
Copyright year: 2008
Publisher: Yale University Press
Publication date: 12/1/2008
Binding: Hardcover
Pages: 320
Size: 8.50" wide x 11.25" long x 1.50" tall
Weight: 4.686
Language: English

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 controshy;versial essay 0;Art and Objecthood1; (1967)-have come to the fore once again in recent photography. This means that the photoshy;graphic 0;ghetto1; 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 H'246;fer, 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 Fried7;s conclusions.

Michael Fried is J.R. Herbert Boone Professor of Humanities and director of the Humanities Center at the Johns Hopkins University.

Introduction
Three Beginnings
Jeff Wall and Absorption; Heidegger on Worldhood and Technology
Jeff Wall, Wittgenstein, and the Everyday
Barthes's Punctum
Thomas Struth's Museum Photographs
Jean-Francois Chevrier on the "Tableau Form"; Thomas Ruff, Andreas Gursky, Luc Delahaye
Portraits by Thomas Struth, Rineke Dijkstra, Patrick Faigenbaum, Luc Delahaye, and Roland Fischer; Douglas Gordon and Philippe Parreno's Film Zidane
Street Photography Revisited: Jeff Wall, Beat Streuli, Philip-Lorca diCorcia
Thomas Demand's Allegories of Intention, "Exclusion" in Candida Hofer, Hiroshi Sugimoto, and Thomas Struth
"Good" versus "Bad" Objecthood: James Welling, Bernd and Hilla Becher, Jeff Wall
Conclusion: Why Photography Matters as Art as Never Before
Notes
Photograph Credits
Index

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