- ハードカバー: 224ページ
- 出版社: Aperture (2005/10/15)
- 言語: 英語
- ISBN-10: 193178891X
- ISBN-13: 978-1931788915
- 発売日： 2005/10/15
- 商品パッケージの寸法: 28.2 x 23.9 x 2.6 cm
- おすすめ度： この商品の最初のレビューを書き込んでください。
- Amazon 売れ筋ランキング: 洋書 - 1,549,599位 (洋書の売れ筋ランキングを見る)
Art Photography Now (英語) ハードカバー – 2005/10/15
This lavishly illustrated, accessible survey presents the work of over seventy international artists at the forefront of the boom in photography (e.g. Gursky, Sherman, Calle, Parr, and Barney). Introductions to each section outline the genres and how themes and how issues like memory, time, objectivity, politics, identity and the everyday are tied to certain approaches. Each photographer's work is then presented in sequence, with commentaries by the author highlighting the arts most important aspects. --このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
A strong pick for anyone who wants to understand the art of photography and its full potential as a medium, highly recommended. "
Unusual for a book of photography, the reader may take away more from the text than from the images themselves. " --このテキストは、ペーパーバック版に関連付けられています。
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Aperture, a respected photography publishing house, has beautifully produced this handsome book with 80 of what they consider to be the best living and working art photographers. The selection is broad, encompasses many areas and is well organized into 7 sections from Portrait to City. Several works from each artist are presented along with a short description of an artist's Work from a curator's perspective. Even more valuable are quotations from each artist describing their Work from their perspective. This alone makes the book worth owning.
Photographers you might know; Cindy Sherman, Thomas Ruff, Gregory Crewdson, Jeff Wall, Uta Barth, Joel Sternfeld, Thomas Demand and many others are alongside people you have probably never heard of but should get to know. The coverage of the cinematic, self exploration/psychological, conceptual and to some extent digital influences presented here should be thought provoking. Clearly, the "digitalness" of photography as a medium and all that implies -- interaction and collaboration, manipulation and realism, and authenticity and authority -- is growing in importance and will no doubt be better covered in the future as those artists emerge.
There are only two omissions that would have been interesting to see included; artists such as Gerhard Richter, best known for his painting and who uses photography extensively -- and some of the newest up and comers, like Idris Khan. To be fair, those areas are rich enough to support separate books and you should not let this keep you from buying this book. Overall, this is an excellent way to quickly learn about contemporary photography and you will not be disappointed.
The major differences between this edition and the first edition are: (1) it's published by Thames & Hudson, not Aperture; (2) it has 240 pages and 275 illustrations, as opposed to 224 pages and 261 illustrations; (3) it's paperback, not hardcover; (4) there are new selections of photos and/or new quotations for Gregory Crewdson, Bill Henson, Candida Höfer, Justine Kurland, Boris Mikhailov, Gabriel Orozco, Mario Sorrenti, Hannah Starkey, Wolfgang Tillmans, Hellen van Meene, and Jeff Wall; and (5) there is a new "Transitions" section (pages 218-231) with subsections "Photography About Photography," "Documentary Drive," and "New Directions." Overall, then, the book is slightly improved from its predecessor.
The book is certainly well-printed and nicely laid out. However, I think it spends too much space on some photographers who are not very noteworthy, such as Camille Vivier and Jonathan De Villiers. The book could have covered photographers such as Stephen Gill, Anthony Goicolea, Rinko Kawauchi, An-My Lê, Barbara Probst, Alec Soth, and Jules Spinatsch instead. Furthermore, in order to "explore... diverse subjects, styles and methods" it would have been better for one photo from each of several of a photographer's different series to be presented instead of several photos from one series. Take Sam Taylor-Wood on pages 30-31; although she is known for many series, such as "Crying Men," "Soliloquy," and "Bram Stoker's Chair," the book contains only five rather repetitive photos from her 2004 "Self-Portrait Suspended" series. Four of Richard Misrach's "On the Beach" photos appear on pages 56-59, possibly leaving the reader to wonder what his much more famous "Desert Cantos" photos look like.
With its limitations in mind, buy this book from Amazon.com!
BTW, unlike a reviewer of the first edition, I didn't miss the exclusion of artists using photography such as Gerhard Richter. Also, I disagree with another reviewer who wrote that "the work doesn't vary much from artist to artist... [and it is] trendy, elitist, high-priced commodity under the guise of art." Finally, the book gives us more than "a potpourri of unrelated photographs" as a third reviewer wrote.
The book though is both excellent and... a bit confusing. Although she mentions the most famous and accomplished of photographers in the chapter introductions and shows a few of their pictures, like those of Nan Goldin, Martin Parr or Andreas Gursky, many of the photographers, while known, are not from the most famous. All things being equal, getting an introduction to photographers with whom we are not familiar is a good thing. Unfortunately all things are not equal.
Still, to be fair, this indispensable survey presents the work of almost 80 of the most important and best-known art photographers in the world: Andreas Gursky, Thomas Struth, Cindy Sherman, Boris Mikhailow, Jeff Wall, Sophie Calle, Wolfgang Tillmans, Nan Goldin, Martin Parr, Allan Sekula, Inez van Lamsweerde, Sam Taylor-Wood, and many more are featured in its pages.
Edited by Ms. Susan Bright, former Curator of Photographs at London's National Portrait Gallery, has organized the book into seven sections -- Object, City, Portrait, Fashion, Document, Landscape and Narrative--and provides an introductory essay for each. Along with each photographer's works, presented in sequence within those divisions. Ms. Bright's commentaries provide, most of the time, a true context and depth, and quotations from the artists themselves offer valuable insights into the motivation, inspiration, and intentions behind the work.