Disappearing witness : change in twentieth-century American photography
著者
書誌事項
Disappearing witness : change in twentieth-century American photography
Johns Hopkins University Press, 2003
大学図書館所蔵 全1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
Bibliography: p. 283-294
Includes index
内容説明・目次
内容説明
American photographers documented and defined the twentieth century in a remarkable array of images, the style and content of which evolved dramatically over the course of the century. In Disappearing Witness, photographer and art historian Gretchen Garner chronicles this transformation, from the introduction of the 35-millimeter camera in the 1920s to the digital photography of today. Accompanied by over 125 key works in the history of photography-fine-art, documentary, and editorial-her thoughtful and enlightening discussion traces American photography's aesthetic, commercial, and technological changes, as the medium's primary role of spontaneous witness gradually gave way to contrived arrangement and artistic invention. Garner discusses direct witness as the dominant paradigm for American photographers from the 1920s to the 1960s. During these decades, photographers saw their medium primarily as a vehicle for truthful description and sometimes as a weapon against social injustice.
In the 1960s, however, photographic practice and its cultural significance shifted to reflect more personal, idiosyncratic, and staged visions of reality-a trend, Garner notes, that has intensified with digital photography. The major portion of the book is devoted to post-1960s work, exploring how the changes have affected portraiture, documentary, landscape, still life, fashion, and the new genre of self-imagery. In documenting this transformation in American photography, Disappearing Witness forcefully rethinks the history of photography itself.
目次
Contents: List of Illustrations Preface and Acknowledgments Introduction PART I Photography of Witness ONE Being There: Spontaneous Witness TWO Speed and the Machine THREE Fine-Art Photography, Redefined FOUR Documentary FIVE The Magazines SIX Spirit in PhotographyPART II Disappearing Witness SEVEN New Paradigms: Uelsmann, Michals, and Samaras EIGHT Documentary-Style and Street Photography NINE Photography about Photography: The Academy and the Art World TEN New Landscapes, New Portraits: The Seventies and Eighties ELEVEN The Subject Self TWELVE Arrangement, Invention, and Appropriation THIRTEEN Digitized PhotographyConclusionNotes Works Cited Index
「Nielsen BookData」 より