|
Showing 1 - 4 of
4 matches in All Departments
Bringing together an international team of scholars, this book
offers new perspectives on the impact that the Bauhaus and its
teaching had on a wide range of artistic practices. Three of the
fields in which the Bauhaus generated immediately transformative
effects were housing, typography, and photography. Contributors go
further to chart the surprising relation of the school to
contemporary developments in hairstyling and shop window display in
unprecedented detail. New scholarship has detailed the degree to
which Bauhaus faculty and students set off around the world, but it
has seldom paid attention to its impact in communist East Germany
or in countries like Ireland where no Bauhausler settled. This
wide-ranging collection makes clear that a century after its
founding, many new stories remain to be told about the influence of
the twentieth century's most innovative arts institution. The book
will be of interest to scholars working in art history, design
history, photography, and architectural history.
Recent decades have seen photography's privileged relationship to
the real come under question. Spurred by the postmodern critique of
photography in the 1980s and the rise of digital technologies soon
thereafter, scholars have been asking who and what built this
understanding of the medium in the first place. Photography and
Doubt reflects on this interest in photography's referential power
by discussing it in rigorously historical terms. How was the
understanding of photographic realism cultivated in the first
place? What do cases of staged and manipulated photography reveal
about that realism's hold on audiences across the medium's history?
Have doubts about photography's testimonial power stimulated as
much knowledge as its realism? Edited by Sabine T. Kriebel and
Andres Mario Zervigon, Photography and Doubt is the first
multi-authored collection specifically designed to explore these
questions. Its 13 original essays, illustrated with 73 color
images, explore cases when the link between the photographic image
and its referent was placed under stress, and when photography was
as attuned to its myth-making capabilities as to its claims to
authenticity. Photography and Doubt will serve as a valuable
resource for students and scholars in art history, visual and media
studies, philosophy, and the history of science and technology.
Recent decades have seen photography's privileged relationship to
the real come under question. Spurred by the postmodern critique of
photography in the 1980s and the rise of digital technologies soon
thereafter, scholars have been asking who and what built this
understanding of the medium in the first place. Photography and
Doubt reflects on this interest in photography's referential power
by discussing it in rigorously historical terms. How was the
understanding of photographic realism cultivated in the first
place? What do cases of staged and manipulated photography reveal
about that realism's hold on audiences across the medium's history?
Have doubts about photography's testimonial power stimulated as
much knowledge as its realism? Edited by Sabine T. Kriebel and
Andres Mario Zervigon, Photography and Doubt is the first
multi-authored collection specifically designed to explore these
questions. Its 13 original essays, illustrated with 73 color
images, explore cases when the link between the photographic image
and its referent was placed under stress, and when photography was
as attuned to its myth-making capabilities as to its claims to
authenticity. Photography and Doubt will serve as a valuable
resource for students and scholars in art history, visual and media
studies, philosophy, and the history of science and technology.
"Revolutionary Beauty" offers the first sustained study of the
German artist John Heartfield's groundbreaking political
photomontages, published in the left-wing weekly "Arbeiter
Illustrierte Zeitung""(AIZ)" during the 1930s. Sabine T. Kriebel
foregrounds the critical artistic practices with which Heartfield
directly confronted the turbulent, ideologically charged currents
of interwar Europe, exposing the cultural politics of the crucial
historical moment that witnessed the consolidation of National
Socialism. In this period of radicalization and mass mobilization,
the medium of photomontage--the cut-and-paste assemblage of
photograph and text--offered a way to deconstruct the visual world
and galvanize beholders on a mass scale.
Kriebel transforms our understandings of montage as a
quintessentially modern practice. Central to that
reconceptualization is suture, a concept integral to film theory
but recruited in this book to explore the psychic operations of
Heartfield's seamlessly welded "AIZ" photomontages. "Revolutionary
Beauty" proposes that the language of sutured illusionism
constitutes one of the most important and overlooked critiques of
modern media, wherein a radical reassessment "resides in "suture.
Scholars of photography, modern and contemporary art history, media
studies, and European history will doubtlessly embrace this
book.
|
|