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Why Photography Matters as Art as Never Before - Fried, Michael - Yale University Press
  • Dec 01, 2008
    410 p., 7 1/2 x 10 3/4
    70 color; 90 b/w
    ISBN: 9780300136845
    Cloth: $60.00 sc
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Art and Architecture

Why Photography Matters as Art as Never Before

  • Michael Fried
      REVIEWS             PREVIEW             CONTENTS             EXCERPTS      

Selected as a best book about photography and art for 2008 by Alan G. Artner of the Chicago Tribune

Chosen as an Outstanding Academic Title for 2009 by Choice Magazine

Chosen for the Holiday Book Guide: Photography, Richard B. Woodward, The Wall Street Journal 

Shortlisted for the 2009 Sir Bannister Fletcher Award presented by the Authors' Club

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.   

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

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