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The companion volume to a major retrospective exhibition of Steichen's work at the Whitney Museum of Art presents more than three hundred photographs, spanning seven decades of work, including stunning landscapes, still lifes, cityscapes, fashion photographs, and portraits of friends, family, and celebrities. 17,500 first printing.
Author : Joel Smith Publisher : Princeton Univ Department of Art & Page : 167 pages File Size : 31,18 MB Release : 1999 Category : Photography ISBN : 9780691048734
A stunning visual record of the emergence of Steichen as a great artist which explores the photographer's maturing artistry in the light of contemporary developments in photography, graphic design, and graphic arts. 60 color plates. 25 duotones.
The Family of Man is the most widely seen exhibition in the history of photography. The book of the exhibition, still in print, is also the most commercially successful photobook ever published. First shown at the Museum of Modern Art in New York in 1955, the exhibition travelled throughout the United States and to forty-six countries, and was seen by over nine million people. Edward Steichen conceived, curated and designed the exhibition. He explained its subject as `the everydayness of life' and `the essential oneness of mankind throughout the world'. The exhibition was a statement against war and the conflicts and divisions that threatened a common future for humanity after 1945. The popular international response was overwhelmingly enthusiastic. Many critics, however, have dismissed the exhibition as a form of sentimental humanism unable to address the challenges of history, politics and cultural difference.This book revises the critical debate about The Family of Man, challenging in particular the legacy of Roland Barthes's influential account of the exhibition. The expert contributors explore new contexts for understanding Steichen's work and they undertake radically new analyses of the formal dynamics of the exhibition. Also presented are documents about the exhibition never before available in English. Commentaries by critical theorist Max Horkheimer and novelist Wolfgang Koeppen, letters from photographer August Sander, and a poetic sequence on the images by Polish poet Witold Wirpsza enable and encourage new critical reflections. A detailed survey of audience responses in Munich from 1955 allows a rare glimpse of what visitors thought about the exhibition. Today, when armed conflict, environmental catastrophe and economic inequality continue to threaten our future, it seems timely to revisit The Family of Man.
Author : Metropolitan Museum of Art (New York, N.Y.) Publisher : Metropolitan Museum of Art Page : 182 pages File Size : 16,74 MB Release : 2010 Category : Photography ISBN : 0300169019
"This volume is published in conjunction with the exhibition "Stieglitz, Steichen, Strand," held at The Metropolitan Museum of Art, New York, from November 10, 2010, to April 10, 2011."
The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included.
The Family of Man is the most widely seen exhibition in the history of photography. The book of the exhibition, still in print, is also the most commercially successful photobook ever published. First shown at the Museum of Modern Art in New York in 1955, the exhibition travelled throughout the United States and to forty-six countries, and was seen by over nine million people. Edward Steichen conceived, curated and designed the exhibition. He explained its subject as `the everydayness of life' and `the essential oneness of mankind throughout the world'. The exhibition was a statement against war and the conflicts and divisions that threatened a common future for humanity after 1945. The popular international response was overwhelmingly enthusiastic. Many critics, however, have dismissed the exhibition as a form of sentimental humanism unable to address the challenges of history, politics and cultural difference.This book revises the critical debate about The Family of Man, challenging in particular the legacy of Roland Barthes's influential account of the exhibition. The expert contributors explore new contexts for understanding Steichen's work and they undertake radically new analyses of the formal dynamics of the exhibition. Also presented are documents about the exhibition never before available in English. Commentaries by critical theorist Max Horkheimer and novelist Wolfgang Koeppen, letters from photographer August Sander, and a poetic sequence on the images by Polish poet Witold Wirpsza enable and encourage new critical reflections. A detailed survey of audience responses in Munich from 1955 allows a rare glimpse of what visitors thought about the exhibition. Today, when armed conflict, environmental catastrophe and economic inequality continue to threaten our future, it seems timely to revisit The Family of Man.
Powerful and often controversial, news pictures promise to make the world at once immediate and knowable. Yet while many great writers and thinkers have evaluated photographs of atrocity and crisis, few have sought to set these images in a broader context by defining the rich and diverse history of news pictures in their many forms. For the first time, this volume defines what counts as a news picture, how pictures are selected and distributed, where they are seen and how we critique and value them. Presenting the best new thinking on this fascinating topic, this book considers the news picture over time, from the dawn of the illustrated press in the nineteenth century, through photojournalism’s heyday and the rise of broadcast news and newsreels in the twentieth century and into today’s digital platforms. It examines the many kinds of images: sport, fashion, society, celebrity, war, catastrophe and exoticism; and many mediums, including photography, painting, wood engraving, film and video. Packed with the best research and full colour-illustrations throughout, this book will appeal to students and readers interested in how news and history are key sources of our rich visual culture.
Author : Eleanor Phillips Brackbill Publisher : State University of New York Press Page : 266 pages File Size : 11,70 MB Release : 2012-09-07 Category : History ISBN : 1438443099
When Eleanor Phillips Brackbill bought her suburban Westchester house in 2000, three mysteries came with it. First, from the former owner, came the information that the 1930s house was "a Sears house or something like that." Thrilled to think it might be a Sears, Roebuck & Co. mail-order house, Brackbill was determined to find evidence to prove it. She found instead a house pedigree of a different sort. Second, and even more provocative, was the discovery of several iron stakes protruding from the property's enormous granite outcropping, bigger in square footage than the house itself. When queried about them, the former owner told her, "Someone a long time ago kept monkeys there, chained to the stakes." Monkeys? Was this some kind of suburban legend? A third mystery came to light at closing, when a building inspector's letter contained a reference to the house having had, at one time, a different address. Why would the house have had another address? Her curiosity aroused, and intent upon finding the facts, Brackbill gradually peeled back layers of history, allowing the house and the land to tell their stories, and uncovering a past inextricably woven into four centuries of American history. At the same time, she found thirty-two owners, across 350 years, who had just one thing in common: ownership of a particular parcel of land. An Uncommon Cape not only tells the story of an eight-year odyssey of fact-finding and speculation but also answers the broader question: "What came before?" and, through material presented in twenty-two sidebars, offers readers insights and guidelines on how to find the stories behind their own homes.