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摘要
摘要
A lavishly illustrated catalogue containing nearly 150 photographs (both color and bandw) by some 50 young photographers to accompany a major exhibit presented by the Smithsonian Institution's National Museum of American Art. Most of the images date to the late 1980s and encompass a wide variety of styles. The volume is 121/2x10" and a number of the photographs are double-page spreads. Includes topical essays by Merry A. Foresta, Karal Ann Marling, and Stephen Jay Gould. Annotation copyrighted by Book News, Inc., Portland, OR
摘要
A lavishly illustrated catalogue containing nearly 150 photographs (both color and bandw) by some 50 young photographers to accompany a major exhibit presented by the Smithsonian Institution's National Museum of American Art. Most of the images date to the late 1980s and encompass a wide variety of styles. The volume is 121/2x10" and a number of the photographs are double-page spreads. Includes topical essays by Merry A. Foresta, Karal Ann Marling, and Stephen Jay Gould. Annotation copyrighted by Book News, Inc., Portland, OR
评论 (6)
《书目》(Booklist)书评
They're not making landscape photographs the way they used to. Instead of the lush tributes to untouched wilderness of an Ansel Adams or the abstract beauties of a Harry Callahan, ecological-political critique occupies the new landscapists. The hand of humanity lies heavily upon these views by 40 mostly younger photographers, which still afford some transcendent moments (the "heaven" of the title): John Pfahl's mystical, luminist light even when photographing nuclear power plants; Karen Halverson's brilliant color-by-car-light; Terry Evans' sublime aerial shots of human-made marks upon the land; the panoramas of Mary Peck, Lois Conner, and Mark Klett. More didactic (one almost feels guilty for being human) is work by David Hanson, Richard Misrack, Peter Goin, Allen Hess, and Anthony Lewis-Hernandez. Accompanying the landscapes is an essay by biologist Stephen Jay Gould that brings his scientist's eye, especially informed by chaos theory, to a careful viewing of the photographs. Despite its major flaw--that the smallest and biggest images are printed pretty much the same size--and too many across-the-gutter images, this important collection is commended to all art and photography libraries. (Reviewed Aug. 1992)0826313639Gretchen Garner
Choice 评论
Published in conjunction with an exhibition that opened at the Smithsonian Institution's national Museum of American Art, this reevaluation of the American landscape through the eyes of 39 photographers includes a range from traditional image making to experimental techniques while exploring the "myths of landscape" within the contemporary social milieu. Three excellent essays by Merry A. Foresta, Stephen Jay Gould, and Karen Ann Marling clarify and stretch one's understanding of the issues surrounding these photographs. These intelligent and insightful essays add another dimension to the range of beautiful, austere, complex, and contradictory photographs reproduced. With color and black-and-white plates beautifully printed on highest quality paper, incorporating foldout sections of photographer's sequences, this well-designed book stays true to the artists' conception and museum presentation. Together, the plates, essays and short biographies of the photographers make this book the most important survey of recent contemporary landscape photography. Unquestionably an important addition for all libraries. P. Laytin; Fitchburg State College
《图书馆杂志》(Library Journal )书评
see Deal, Joe. Southern California (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
《书目》(Booklist)书评
They're not making landscape photographs the way they used to. Instead of the lush tributes to untouched wilderness of an Ansel Adams or the abstract beauties of a Harry Callahan, ecological-political critique occupies the new landscapists. The hand of humanity lies heavily upon these views by 40 mostly younger photographers, which still afford some transcendent moments (the "heaven" of the title): John Pfahl's mystical, luminist light even when photographing nuclear power plants; Karen Halverson's brilliant color-by-car-light; Terry Evans' sublime aerial shots of human-made marks upon the land; the panoramas of Mary Peck, Lois Conner, and Mark Klett. More didactic (one almost feels guilty for being human) is work by David Hanson, Richard Misrack, Peter Goin, Allen Hess, and Anthony Lewis-Hernandez. Accompanying the landscapes is an essay by biologist Stephen Jay Gould that brings his scientist's eye, especially informed by chaos theory, to a careful viewing of the photographs. Despite its major flaw--that the smallest and biggest images are printed pretty much the same size--and too many across-the-gutter images, this important collection is commended to all art and photography libraries. (Reviewed Aug. 1992)0826313639Gretchen Garner
Choice 评论
Published in conjunction with an exhibition that opened at the Smithsonian Institution's national Museum of American Art, this reevaluation of the American landscape through the eyes of 39 photographers includes a range from traditional image making to experimental techniques while exploring the "myths of landscape" within the contemporary social milieu. Three excellent essays by Merry A. Foresta, Stephen Jay Gould, and Karen Ann Marling clarify and stretch one's understanding of the issues surrounding these photographs. These intelligent and insightful essays add another dimension to the range of beautiful, austere, complex, and contradictory photographs reproduced. With color and black-and-white plates beautifully printed on highest quality paper, incorporating foldout sections of photographer's sequences, this well-designed book stays true to the artists' conception and museum presentation. Together, the plates, essays and short biographies of the photographers make this book the most important survey of recent contemporary landscape photography. Unquestionably an important addition for all libraries. P. Laytin; Fitchburg State College
《图书馆杂志》(Library Journal )书评
see Deal, Joe. Southern California (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.