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Bill Brandt | Henry Moore (Hardcover)
Martina Droth, Paul Messier; Contributions by Lynda Nead, Nicholas Robbins, Audrey Sands, …
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R1,613
Discovery Miles 16 130
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Ships in 12 - 17 working days
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A close look at the work, relationship, and shared influences of
two masterful 20th-century artists "The camera," said Orson Welles,
"is a medium via which messages reach us from another world." It
was the camera and the circumstances of the Second World War that
first brought together Henry Moore (1898-1986) and Bill Brandt
(1904-1983). During the Blitz, both artists produced images
depicting civilians sheltering in the London Underground. These
"shelter pictures" were circulated to millions via popular
magazines and today rank as iconic works of their time. This book
begins with these wartime works and examines the artists'
intersecting paths in the postwar period. Key themes include war,
industry, and the coal mine; landscape and Britain's great
megalithic sites; found objects; and the human body. Special
photographic reproduction captures the materiality of the print as
a three-dimensional object rather than a flat, disembodied image on
the page. Published by the Yale Center for British Art/Distributed
by Yale University Press Exhibition Schedule: The Hepworth
Wakefield (February 7-November 1, 2020) Sainsbury Centre for Visual
Arts, Norwich (November 21, 2020-February 28, 2021) Yale Center for
British Art (November 17, 2022-February 26, 2023)
Photography can seem to capture reality and the eye like no other
medium, commanding belief and wielding the power of proof. In some
cases, a photograph itself is attributed the force of the real. How
can a piece of chemically discolored paper have such potency? How
does the meaning of a photograph become fixed? In The Disciplinary
Frame, John Tagg claims that, to answer these questions, we must
look at the ways in which all that frames photography-the discourse
that surrounds it and the institutions that circulate it-
determines what counts as truth. The meaning and power of
photographs, Tagg asserts, are discursive effects of the regimens
that produce them as official record, documentary image, historical
evidence, or art. Teasing out the historical processes involved, he
examines a series of revealing case studies from nineteenth-century
European and American photographs to Depression-era works by Walker
Evans, Dorothea Lange, and Margaret Bourke-White to the
conceptualist photography of John Baldessari. Central to this
transformative work are questions of cultural strategy, the growth
of the state, and broad issues of power and representation: how the
discipline of the frame holds both photographic image and viewer in
place, without erasing the possibility for evading, and even
resisting, capture. Photographs, Tagg ultimately finds, are at once
too big and too small for the frames in which they are
enclosed-always saying more than is wanted and less than is
desired.
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