Why Photography Matters as Art as Never Before
| Author | : | |
| Rating | : | 4.68 (846 Votes) |
| Asin | : | 0300136846 |
| Format Type | : | paperback |
| Number of Pages | : | 410 Pages |
| Publish Date | : | 2014-12-30 |
| Language | : | English |
DESCRIPTION:
Carl said Fried's best essays during the 1960s consist almost entirely of detailed. At a very young age in 196Fried's best essays during the 1960s consist almost entirely of detailed At a very young age in 1963 Michael Fried became an art critic and until about 1970 he was (in my opinion, along with Clement Greenberg) America's most perceptive, intellectually powerful and consistently interesting writer about contemporary painting and sculpture. What made Fried's work special is his astonishing ability to describe what he sees in such a way that works of art are revealed as making compelling ontological claims on the beholder - claims that exist only in their art-historical context. Fried's best essays during the 1960s consist almost entirely o. Michael Fried became an art critic and until about 1970 he was (in my opinion, along with Clement Greenberg) America's most perceptive, intellectually powerful and consistently interesting writer about contemporary painting and sculpture. What made Fried's work special is his astonishing ability to describe what he sees in such a way that works of art are revealed as making compelling ontological claims on the beholder - claims that exist only in their art-historical context. Fried's best essays during the 1960s consist almost entirely o. MR LAWRENCE MARTIN said Plenty of good ideas here. Whilst I agree with other reviewers that Fried's writing style isn't always clear, economical or particularly well structured at times, the author presents many bold and original ideas that, frankly, we don't see enough of (i.e. there's a lot of "highly polished" pieces that are well structured, etc., but do present ideas of equivalent depth). And let us remember that some of the views Fried presents include ideas that are not easy to express.In particular, Fried's philosophical (Hiedeggerian) approach to Jeff Wall is a compelling read.Well recommended.. Five Stars nice
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. From the late 1970s onward, serious art photography began to be made at large scale and for the wall. Fried further demonstrates that certain philosophically deep problemsassociated 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 Gor
"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