Illustrations | |
Acknowledgments | |
Foreword to the Second Edition | |
Introduction | |
The Crisis of the Real | |
Re: Mastering Modernism | |
Alfred Stieglitz and the Contradictions of Modernism | p. 20 |
Edward Weston's Late Landscapes | p. 24 |
Ansel Adams: The Politics of Natural Space | p. 31 |
Minor White: The Fall from Grace of a Spiritual Guru | p. 37 |
The Radical Failure of Laszlo Moholy-Nagy | p. 42 |
Robert Frank's Existential Refrain | p. 46 |
In Search of America | |
The Machine and the Garden: Photography, Technology, and the End of Innocent Space | p. 50 |
Walker Evans, Connoisseur of the Commonplace | p. 66 |
Helen Levitt's Realist Theater | p. 71 |
The Final "Facts" of Garry Winogrand | p. 75 |
Lee Friedlander's Portraits | p. 79 |
Robert Adams's Pathetic Frontier | p. 83 |
Joel Sternfeld: The Itinerant Vision | p. 87 |
Richard Avedon's Portraits: Inverted Fashion, Fashionable Mud | p. 92 |
Nan Goldin's Grim "Ballad" | p. 95 |
A New Kind of Art: Camera Culture in the 1980s | |
Introduction | p. 100 |
Photographic Culture in a Drawn World | p. 101 |
Andy Warhol: Presentation Without Representation | p. 106 |
Chuck Close's Hyperbolic Verisimilitude | p. 110 |
Lucas Samaras's Photographs: Sliced, Stabbed, and Cubed Polaroids | p. 114 |
Cindy Sherman: A Playful and Political Postmodernist | p. 118 |
Cindy Sherman, Continued: Grimm, but Still Playful | p. 122 |
Laurie Simmons: Water Buoyed | p. 125 |
Barbara Kruger: Photomontage with Difference | p. 128 |
Richard Prince, Rephotographer | p. 132 |
Robert Cumming, Conflationist | p. 136 |
Jan Groover: Consciousness as Content | p. 140 |
The Photograph as Art Object | p. 144 |
Robert Mapplethorpe: The Subject Is Style | p. 148 |
Now Starring The Starn Twins | p. 153 |
The Representation of Abstraction/The Abstraction of Representation | p. 158 |
Documentary Dilemmas | |
Introduction | p. 166 |
What Kind of Art Is It? Connoisseurs Versus Contextualists | p. 167 |
Decoding National Geographic | p. 172 |
Oliver North, Fawn Hall, and the View of Life from Life | p. 176 |
The Foreign and the Fabulous | p. 180 |
The "New Photojournalism" and the Old | p. 184 |
Magnum's Postwar Paradox | p. 191 |
Subject and Style: Prospects for a New Documentary | p. 196 |
Portraits, Real and Recycled | p. 200 |
Nicholas Nixon's People, With AIDS | p. 205 |
Displaced Sympathies: A Reading of Bill Burke's Portraits | p. 210 |
Photography at the End of the Millennium | |
Photography in Its 150th Year | p. 216 |
Photography in the Age of Electronic Simulation | p. 222 |
Looking at Television | p. 231 |
Photographic Memory and the News in "Real Time" | p. 236 |
Art Under Attack: Who Dares Say That It's No Good? | p. 241 |
Points of Entry: Tracing Cultures | p. 245 |
Photography's Dark Side: The Work of Sophie Calle | p. 250 |
Sweet Illusion: Vik Muniz's Sigmund | p. 254 |
J. John Priola: The Photograph as Index | p. 259 |
Photography Beside Itself | p. 263 |
Notes | p. 274 |
Text Credits | p. 279 |
Picture Credits | p. 280 |
Bibliography | p. 281 |
Index | p. 283 |
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