Fried further demonstrates that certain philosophically deep problems-associated with notions of theatricality, literalness, and objecthood, and touching on the role of original intention in artistic production, have come to the fore once ...
Author: Michael Fried
From the late 1970s onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship between the photograph and the viewer standing before it that until then had been the province only of painting. Fried further demonstrates that certain philosophically deep problems—associated with notions of theatricality, literalness, and objecthood, and touching on the role of original intention in artistic production, first discussed in his controversial essay “Art and Objecthood” (1967)—have come to the fore once again in recent photography. This means that the photographic “ghetto” no longer exists; instead photography is at the cutting edge of contemporary art as never before. Among the photographers and video-makers whose work receives serious attention in this powerfully argued book are Jeff Wall, Hiroshi Sugimoto, Cindy Sherman, Thomas Struth, Thomas Ruff, Andreas Gursky, Luc Delahaye, Rineke Dijkstra, Patrick Faigenbaum, Roland Fischer, Thomas Demand, Candida Höfer, Beat Streuli, Philip-Lorca diCorcia, Douglas Gordon and Philippe Parreno, James Welling, and Bernd and Hilla Becher. Future discussions of the new art photography will have no choice but to take a stand for or against Fried’s conclusions.
24 Fried, Why Photography Matters as Art as Never Before, 5–7. 25 Fried, 'Art and Objecthood,' 164. 26 In a footnote of Art and Objecthood Fried again briefly raises the issue of cinema, admitting it deserves investigation, but stopping ...
Author: Naomi Merritt
This book grapples with fundamental questions about the evolving nature of pictorial representation, and the role photography has played in this ongoing process. These issues are explored through a close analysis of key themes that underpin the photography practice of Canadian artist Jeff Wall and through examining important works that have defined his oeuvre. Wall’s strategic revival of ‘the picture’ has had a resounding influence on the development of contemporary art photography, by expanding the conceptual and technical frameworks of the medium and introducing a self-reflexive criticality. Naomi Merritt brings a new and original contribution to the scholarship on one of the most significant figures to have shaped the course of contemporary art photography since the 1970s and shines a light on the multilayered connections between photography and art. This book will be of interest to scholars in the history of photography, art and visual culture, and contemporary art history.
In 2008 a book appeared called Why Photography Matters as Art as Never Before . It is quite long , running to over 400 pages , and I have not mastered all its arguments . Nor am I convinced that some of the artists it discusses merit so ...
Author: Jerry L. Thompson
Publisher: MIT Press
A lucid and wide-ranging meditation on why photography is unique among the picture-making arts. Photography matters, writes Jerry Thompson, because of how it works—not only as an artistic medium but also as a way of knowing. With this provocative observation, Thompson begins a wide-ranging and lucid meditation on why photography is unique among the picture-making arts. He constructs an argument that moves with natural logic from Thomas Pynchon (and why we read him for his vision and not his command of miscellaneous facts) to Jonathan Swift to Plato to Emily Dickinson (who wrote “Tell all the Truth but tell it slant”) to detailed readings of photographs by Eugène Atget, Garry Winogrand, Marcia Due, Walker Evans, and Robert Frank. Forcefully and persuasively, he argues for photography as a medium whose business is not constructing fantasies pleasing to the eye or imagination, but describing the world in the toughest and deepest way.
Fried, Why Photography Matters as Art as Never Before, 13. 4. Fried, Why Photography Matters as Art as Never Before, 2. 5. Fried, Why Photography Matters as Art as Never Before, 271. 6. Fried, Why Photography Matters as Art as Never ...
Author: Mathew Abbott
Publisher: Edinburgh University Press
A deflationary, anti-theoretical film-philosophy through the cinema of Abbas KiarostamiMathew Abbott presents a powerful new film-philosophy through the cinema of Iranian director Abbas Kiarostami. Mathew Abbott argues that Kiarostamis films carry out cinematic thinking: they do not just illustrate pre-existing philosophical ideas, but do real philosophical work.Crossing the divide between analytic and continental philosophy, he draws on Ludwig Wittgenstein, Stanley Cavell, John McDowell, Alice Crary, NoAl Carroll, Giorgio Agamben, and Martin Heidegger, bringing out the thinking at work in Kiarostamis most recent films: Taste of Cherry, The Wind Will Carry Us, ABC Africa, Ten, Five, Shirin, Certified Copy and Like Someone in Love.
The temporal reference in Michael Fried's 2008 book, Why Photography Matters as Art as Never Before, will have an immediate double implication for readers of his work on the history of painting and on contemporary art.
Author: Mathew Abbott
This volume brings philosophers, art historians, intellectual historians, and literary scholars together to argue for the philosophical significance of Michael Fried’s art history and criticism. It demonstrates that Fried’s work on modernism, artistic intention, the ontology of art, theatricality, and anti-theatricality can throw new light on problems in and beyond philosophical aesthetics. Featuring an essay by Fried and articles from world-leading scholars, this collection engages with philosophical themes from Fried’s texts, and clarifies the relevance to his work of philosophers such as Ludwig Wittgenstein, Stanley Cavell, Morris Weitz, Elizabeth Anscombe, Arthur Danto, George Dickie, Immanuel Kant, Friedrich Schiller, G. W. F. Hegel, Arthur Schopenhauer, Friedrich Nietzsche, Denis Diderot, Maurice Merleau-Ponty, Roland Barthes, Jacques Rancière, and Søren Kierkegaard. As it makes a case for the importance of Fried for philosophy, this volume contributes to current debates in analytic and continental aesthetics, philosophy of action, philosophy of history, political philosophy, modernism studies, literary studies, and art theory.
Fried, Michael, Why Photography Matters as Art as Never Before (New Haven: Yale University Press, 2008). Frith, Francis, “The Art of Photography,” Art Journal (March 1859), pp. 71–72. Frueh, Joanna, “The Body Through Women's Eyes,” in ...
Author: Patrizia di Bello
Publisher: Bloomsbury Publishing
This is the first monograph exploring how, throughout its history, sculpture has provided a model to conceptualize photography as an art of mechanical reproduction. While there is a growing body of work examining how photography has contributed to the development of a Western 'sculptural imagination' by disseminating works, facilitating the investigation of the medium, or changing sculptural aesthetics, this study focuses on how sculpture has provided not only beautiful and convenient subject matter for photographs, or commercial and cultural opportunities for photographers in the market for art reproductions, but also an exemplar for thinking about photography as a medium based on mechanical means of production. In both media, processes from conception to realization involve apparatus that bypass the 'touch of the artist' - so important to enduring notions of the value of works of art. The book closely analyses a number of case studies, from 1847 to the present, selected both to explicate the conceptual and technological continuities between the two media, and also because of how they illuminate the materiality of photographic objects. The final chapter considers the convergence of the two media in contemporary sculptural practices that use forms of 3D photography and computer-operated sculpting machines. Rooted in an understanding of the practical, social and aesthetic implications of photographic as well as sculptural technologies, this volume demonstrates how photographs of sculpture are particularly useful in revealing how photography's changing materialities shape the meaning of images as they are made, circulated, looked at, written about and handled at different historical moments.
photographers in the contemporary era have shown us that the photographic can also refer to the medium's mechanics ... For the major treatise on this mode see Michael Fried, Why Photography Matters as Art as Never Before (London and New ...
Author: Lucy Soutter
Contemporary art photography is paradoxical. Anyone can look at it and form an opinion about what they see, yet it represents critical positions that only a small minority of well-informed viewers can usually access. This book provides an introduction to the ideas behind today's striking photographic images.
Author: Walter Benn MichaelsPublish On: 2015-07-13
This is the point of the “as Art” in the title of Michael Fried's Why Photography Matters as Art as Never Before (New Haven, CT: Yale University Press, 2008). Fried notes the “convergence” of his views and mine on this topic in the ...
Author: Walter Benn Michaels
Publisher: University of Chicago Press
Bertolt Brecht once worried that how we feel about the victims of a social problem can get in the way of the beauty and attraction of the problem itself. In this book, Walter Benn Michaels explores the same dilemma through a study of several contemporary artist-photographers whose work speaks to questions of political economy. Michaels focuses on the work of several artists, mostly born in the 1970s and thus raised in a world where artistic ambition has been identified with a critique of autonomous form and of meaning as a function of intention. Michaels shows that these artists engage but also push beyond this critique of autonomy and intentionality, producing works that embody a new commitment to form and meaning. The explanation for this commitment, he argues, is these artists consciousness of making art in an economy riven by structural conflict, especially an unprecedented rise in inequality. For them, he argues, the relationship of the art work to the worldto its subject and to its beholderfunctions as an emblem of the relation between classes (rather than identities or subject positions). This book will join the short shelf of essential writings about the medium of photography."
13 In Fried's 2008 book , Why Photography Matters as Art as Never Before , he reworks his previous interest ( some might say obsession ) with pictorial figures in paintings who look out of the frame ( away from the spectator ) in what ...
Author: David Bate
Providing a thorough and comprehensive introduction to the study of photography, this second edition of Photography: The Key Concepts has been expanded and updated to cover more fully contemporary changes to photography. Photography is a part of everyday life; from news and advertisements, to data collection and surveillance, to the shaping of personal and social identity, we are constantly surrounded by the photographic image. Outlining an overview of photographic genres, David Bate explores how these varied practices can be coded and interpreted using key theoretical models. Building upon the genres included in the first edition – documentary, portraiture, landscape, still life, art and global photography – this second edition includes two new chapters on snapshots and the act of looking. The revised and expanded chapters are supported by over three times as many photographs as in the first edition, examining contemporary practices in more detail and equipping students with the analytical skills they need, both in their academic studies and in their own practical work.An indispensable guide to the field, Photography: The Key Concepts is core reading for all courses that consider the place of photography in society, within photographic practice, visual culture, art, media and cultural studies.