New York : capital of photography
著者
書誌事項
New York : capital of photography
Jewish Museum , Yale University Press, c2002
- : pbk
大学図書館所蔵 全3件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
"Published in conjunction with the exhibition ... organized by the Jewish Museum, New York ... April 28-September 2, 2002"--T.p. verso
Bibliography: p. 200-203
Includes index
内容説明・目次
内容説明
For street photographers, New York has always been a city of unparalleled visual excitement, teeming with diverse people and distinctive neighbourhoods. This is an examination of how photographers chronicled New York throughout the 20th century, how the city changed their vision, and how their work affected ideas about New York throughout the world. The volume presents the work of both famous and lesser-known photographers, many of them Jewish. An underlying theme in this pictorial history of New York is the critical role played by Jewish sensibility. Max Kozloff begins with the development of street photography that emerged in New York in the early 1900s with a local school of photographers led by Alfred Stieglitz. Documenting work, loneliness, play, conflict, love and spectacle, this group came to define urban perception as the characteristic visual experience of modernity. Some photographers also became social activists, observing New York's ethnic and racial diversity and focusing their lenses on newcomers and marginalized groups.
From the 1930s to 1960s, Kozloff shows, members of the New York School envisioned the city in a different way, as a processing centre for immigrants, a site of commercial display, and a crossroads of world culture. In the 1950s and 1960s, photographers saw New York as an uneasy battleground, and their pictures caught the forces of civil rights, sexual liberation, and leftist politics as they clashed with traditional powers. Finally, as the century waned, photographers became more self-conscious, The photographers featured in this book include Berenice Abbott, Diane Arbus, Richard Avedon, Margaret Bourke-White, Henri Cartier-Bresson, Larry Clark, Walker Evans, Lee Friedlander, Nan Goldin, Lewis Hine, Joel Myerowitz, Gordon Parks, Irving Penn, Ben Shahn, Edward Steichen, Alfred Steiglitz, Paul Strand, Weegee, and Garry Winogrand.
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