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Catalog of an exhibition held at the Museum of Modern Art, New York.
In the late 1920s, conservative policies were the norm among traditional museums--that is, until three progressive patrons of the arts decided to establish an institution devoted exclusively to modern art. When The Museum of Modern Art was founded in 1929, its first director, Alfred H. Barr, Jr., dedicated it to helping people understand and enjoy the new visual arts of the time; his hope was that this new institution would offer New York "perhaps the greatest museum of modern art in the world." The public responded with enthusiasm--and has continued to do so over the history of the Museum's extraordinary development. Published on the occasion of the Museum's 75th birthday and the opening of its new building, "Art in Our Time: A History of The Museum of Modern Art is a picture book of historical photographs and archival documents, many of which have never before been published. Included are images of the various Museum buildings and gardens, from its original home in the Heckscher Building on 57th Street, to its present location in Yoshio Taniguchi's complex on 53rd Street; major exhibitions and important events at the Museum; and photographs of curatorial staff and Museum officials whose discerning policies helped shape our understanding of modern art. Documents include excerpts from letters, invitations, and other archival materials that tell the story of The Museum of Modern Art from its beginnings to the present.
The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included.
Picturing America argues that photography is a prevalent practice of making places, determining how we situate ourselves in the world. As a prime site of knowledge and change, it enacts our perception as well as transformative conception of American environments.
Monografie over het werk van de Amerikaanse fotografe (1923-1971) en hoe zich dit verhoudt tot andere kunstzinige en maatschappelijke ontwikkelingen in de zestiger jaren van de twintigste eeuw.
"How shall the two-dimensional print in black and white suggest the flux of activity of the metropolis, the interaction of human beings and solid architectural constructions, all impinging upon each other in time?" Picturing New York presents myriad answers to this question posed by photographer Berenice Abbott in the 1930s. Depicting the iconic New York that captivates the world's imagination and the idiosyncratic details that define New Yorkers' sense of home, this anthology of photographs from The Museum of Modern Art's extraordinary collection celebrates the city in all its vitality, ambition, and beauty. Made by artists responding to the city as well as professionals on assignment - including Berenice Abbott, Diane Arbus, Harry Callahan, Henri Cartier-Bresson, Walker Evans, Lee Friedlander, Helen Levitt, Lisette Model, Irving Penn, Cindy Sherman, Alfred Stieglitz, Weegee, and many more - the works reveal the deeply symbiotic relationship between photography and New York. Evocative excerpts from literary works about New York and a lively essay by Sarah Hermanson Meister, Associate Curator in the Department of Photography at MoMA, accompany the selection of classic images and lesser-known gems. Both an exploration of the life of the city and a documentation of photography's evolution throughout the twentieth century, Picturing New York celebrates the great and continuing tradition of capturing the grit and glamour of one of America's greatest urban centers.
Photography: History and Theory introduces students to both the history of photography and critical theory. From its inception in the nineteenth century, photography has instigated a series of theoretical debates. In this new text, Jae Emerling therefore argues that the most insightful way to approach the histories of photography is to address simultaneously the key events of photographic history alongside the theoretical discourse that accompanied them. While the nineteenth century is discussed, the central focus of the text is on modern and contemporary photographic theory. Particular attention is paid to key thinkers, such as Baudelaire, Barthes and Sontag. In addition, the centrality of photography to contemporary art practice is addressed through the theoretical work of Allan Sekula, John Tagg, Rosalind Krauss, and Vilém Flusser. The text also includes readings of many canonical photographers and exhibitions including: Atget, Brassai, August Sander, Walker Evans, The Family of Man, Diane Arbus, Lee Friedlander, Cindy Sherman, Bernd and Hilla Becher, Sebastaio Salgado, Jeff Wall, and others. In addition, Emerling provides close readings of key passages from some major theoretical texts. These glosses come between the chapters and serve as a conceptual line that connects them. Glosses include: Roland Barthes, "The Rhetoric of the Image" (1964) Susan Sontag, Regarding the Pain of Others (2002) Michel Foucault on the archive (1969) Walter Benjamin, "Little History of Photography" (1931) Vilém Flusser, Towards a Philosophy of Photography (1983) A substantial glossary of critical terms and names, as well as an extensive bibliography, make this the ideal book for courses on the history and theory of photography.

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