Street & studio : an urban history of photography

著者

書誌事項

Street & studio : an urban history of photography

edited by Ute Eskildsen ; with Florian Ebner and Bettina Kaufmann

Tate Pub. , Distributed in the U.S. and Canada by Harry N. Abrams, 2008

  • : pbk.

タイトル別名

Street and studio

Urban history of photography

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注記

Exhibition catalogue

Catalog of the exhibition held at the Tate Modern, London, May 22-Aug. 31, 2008; Museum Folkwang, Essen, Oct. 11, 2008-Jan.11, 2009

Includes bibliographical references

内容説明・目次

内容説明

Any examination of the history of the photographic portrait uncovers two very different traditions, shaped by the place where they were made - in the street or in the studio. Both are essentially urban. The street has been the place where small and easily concealed cameras allowed photographers to capture subjects unaware or at least in informal settings. In contrast, the studio offered both photographer and subjects the opportunity to present carefully composed images to the world, making use of all the elaborate staging and technical tricks at their disposal. Both these practices have since been subverted, with celebrities becoming used to posing in the street and the studio being used for informal and intimate shots. For the first time this book examines the contrasts and tensions between these two traditions, revealing much about the history of photography itself and providing fascinating insights into the changing face of societies across the globe.The book will include many of the greatest names in the history of photography. Among those who have famously photographed in the street, it will feature work by Atget, Brassai, Henri Cartier-Bresson, Robert Frank, Diane Arbus, Araki, Boris Mikhailov and Wolfgang Tillmans. Studio-based photographers include Carlo Ponti, Edward Steichen, Richard Avedon, David Bailey, Annie Leibovitz, Jurgen Teller, and Rineke Dijkstra. Essays by leading critics examine the history of street and studio photography and how the images these photographers have produced has conditioned the way we see both the modern city and ourselves.

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