Why Photography Matters as Art as Never Before

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9780300136845: Why Photography Matters as Art as Never Before

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 Höfer, 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.   

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About the Author:

Michael Fried is J.R. Herbert Boone Professor of Humanities and the History of Art at The Johns Hopkins University.

Review:

"Fried . . . selects particular pictures to address and teases out the ways in which their meanings are created and transmitted. In these cases his writing is engaging, intriguing, and often delightfully paradoxical."—Andy Grundberg, American Scholar (Andy Grundberg American Scholar 2008-12-01)

"Fried's book—more than any other I have read—challenges its readers to interpret more cogently the resurgence of the tableau in photographic form. The gauntlet has been tossed."—Robin Kelsey, Artforum (Robin Kelsey Artforum 2009-01-01)

“A powerfully argued book, this is the new benchmark against which future discussions of photography must stand.”—Ottawa XPress (Ottawa XPress)

Chosen as an Outstanding Academic Title for 2009 by Choice Magazine (Choice 2010-01-01)

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Michael Fried
Editorial: Yale University Press, United States (2011)
ISBN 10: 0300136846 ISBN 13: 9780300136845
Nuevos Tapa dura Cantidad: 10
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Descripción Yale University Press, United States, 2011. Hardback. Estado de conservación: New. Language: English . Brand New Book. 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 contro-versial essay Art and Objecthood (1967)-have come to the fore once again in recent photography. This means that the photo-graphic 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. Nº de ref. de la librería AAH9780300136845

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Michael Fried
Editorial: Yale University Press, United States (2011)
ISBN 10: 0300136846 ISBN 13: 9780300136845
Nuevos Tapa dura Cantidad: 10
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Descripción Yale University Press, United States, 2011. Hardback. Estado de conservación: New. Language: English . Brand New Book. 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 contro-versial essay Art and Objecthood (1967)-have come to the fore once again in recent photography. This means that the photo-graphic 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. Nº de ref. de la librería AAH9780300136845

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Fried, Michael
Editorial: Yale Univ Pr (2008)
ISBN 10: 0300136846 ISBN 13: 9780300136845
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Descripción Yale Univ Pr, 2008. Hardcover. Estado de conservación: Brand New. 1st edition. 409 pages. 11.25x8.50x1.50 inches. In Stock. Nº de ref. de la librería __0300136846

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Michael Fried
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Descripción Yale University Press Nov 2008, 2008. Buch. Estado de conservación: Neu. Neuware - From the late 1970s onward, serious art photography began to be made at large scale and for the wall. This title argues that this 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. 320 pp. Englisch. Nº de ref. de la librería 9780300136845

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