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This book is based on the lectures and discussions held during the 21st Bielefeld Symposium on Photography and the Media. The meeting was explicitly aimed at raising public awareness of the art of abstract photography.
The accompanying catalogue to the first major exhibition to consider the relationship between the photographic medium and the history of abstraction in the twentieth century, on display at London's Tate Modern.The exhibition catalogue will be arranged in a broadly chronological way to tell the story of photography and its relationship with abstraction from around 1915 to the present day, and will include historic works in a variety of media from painting and sculpture to montage and kinetic installations. Beginning with the works of cubism and vorticism, the catalogue then highlights the key contributions of Bauhaus, constructivist and surrealist artists of the 1920's and 1930's. It then moves into the s̀ubjective photography' of the 1940's and 1950's, exploring the global scope of this movement through works by artists from Latin America and Asia, before considering the impacts of photography of abstract expressionism, op art and minimalism in Europe and the US.0Bringing together iconic as well as rarely seen works, Photography and Abstract Art explores the development of photography in relation to abstract art, tracing the key moments of innovation in new techniques and practice.
From the beginning, abstraction has been intrinsic to photography, and its persistent popularity reveals much about the medium. Now available in an affordable paperback edition, The Edge of Vision: The Rise of Abstraction in Photography is the first book in English to document this phenomenon and to put it into historical context, while also examining the diverse approaches thriving within contemporary photography. Author Lyle Rexer examines abstraction at pivotal moments, starting with the inception of photography, when many of the pioneers believed the camera might reveal other aspects of reality. The Edge of Vision traces subsequent explorations--from the Photo-Secessionists, who emphasized process and emotional expression over observed reality, to Modernist and Surrealist experiments. In the decades to follow, in particular from the 1950s through the 1980s, a multitude of photographers--Edward Weston, Aaron Siskind, Barbara Kasten, Ellen Carey and James Welling among them--took up abstraction from a variety of positions. Finally, Rexer explores the influence the history of abstraction exerts on contemporary thinking about the medium. Many contemporary artists--most prominently Penelope Umbrico, Michael Flomen, and Adam Broomberg and Oliver Chanarin--reject classic definitions of photography's documentary dimension in favor of other conceptually inflected possibilities, somewhere between painting and sculpture, that include the manipulation of process and printing. In addition to Rexer's engagingly written and richly illustrated history, this volume includes a selection of primary texts from and interviews with key practitioners and critics, such as Alvin Langdon Coburn, László Moholy-Nagy, Gottfried Jägger, Silvio Wolf and Walead Beshty.
This book explores the development of abstraction from the moment of its declaration around 1912 to its establishment as the foundation of avant-garde practice in the mid-1920s. The book brings together many of the most influential works in abstractions early history to draw a cross-media portrait of this watershed moment in which traditional art was reinvented in a wholesale way. Works are presented in groups that serve as case studies, each engaging a key topic in abstractions first years: an artist, a movement, an exhibition or thematic concern. Key focal points include Vasily Kandinskys ambitious Compositions V, VI and VII; a selection of Piet Mondrians work that offers a distilled narrative of his trajectory to Neo-plasticism; and all the extant Suprematist pictures that Kazimir Malevich showed in the landmark 0.10 exhibition in 1915.0Exhibition: MoMA, New York, USA (23.12.2012-15.4.2013).
This is a completely new and revised edition of William Klein's classic New York photographs. Selected by Klein himself, it includes many photographs never previously published nor exhibited. The original edition of the work, published in 1956, has been out of print for over 20 years and is now a collector''s item fetching prices of up to #500 per copy.
An illuminating exploration of the meaning of abstract art by acclaimed art historian Kirk Varnedoe "What is abstract art good for? What's the use—for us as individuals, or for any society—of pictures of nothing, of paintings and sculptures or prints or drawings that do not seem to show anything except themselves?" In this invigorating account of abstract art since Jackson Pollock, eminent art historian Kirk Varnedoe, the former chief curator of painting and sculpture at the Museum of Modern Art, asks these and other questions as he frankly confronts the uncertainties we may have about the nonrepresentational art produced in the past five decades. He makes a compelling argument for its history and value, much as E. H. Gombrich tackled representation fifty years ago in Art and Illusion, another landmark A. W. Mellon Lectures volume. Realizing that these lectures might be his final work, Varnedoe conceived of them as a statement of his faith in modern art and as the culminating example of his lucidly pragmatic and philosophical approach to art history. He delivered the lectures, edited and reproduced here with their illustrations, to overflowing crowds at the National Gallery of Art in Washington in the spring of 2003, just months before his death. With brilliance, passion, and humor, Varnedoe addresses the skeptical attitudes and misunderstandings that we often bring to our experience of abstract art. Resisting grand generalizations, he makes a deliberate and scholarly case for abstraction—showing us that more than just pure looking is necessary to understand the self-made symbolic language of abstract art. Proceeding decade by decade, he brings alive the history and biography that inform the art while also challenging the received wisdom about distinctions between abstraction and representation, modernism and postmodernism, and minimalism and pop. The result is a fascinating and ultimately moving tour through a half century of abstract art, concluding with an unforgettable description of one of Varnedoe's favorite works. Please note: All images in this ebook are presented in black and white and have been reduced in size.

See the images and read the stories behind the creative process of one of America’s most respected landscape photographers, William Neill.

For more than two decades, William Neill has been offering his thoughts and insights about photography and the beauty of nature in essays that cover the techniques, business, and spirit of his photographic life. Curated and collected here for the first time, these essays are both pragmatic and profound, offering readers an intimate look behind the scenes at Neill’s creative process behind individual photographs as well as a discussion of the larger and more foundational topics that are key to his philosophy and approach to work.

Drawing from the tradition of behind-the-scenes books like Ansel Adams’ Examples: The Making of 40 Photographs and Galen Rowell’s Mountain Light: In Search of the Dynamic Landscape, Light on the Landscape covers in detail the core photographic fundamentals such as light, composition, camera angle, and exposure choices, but it also deftly considers those subjects that are less frequently examined: portfolio development, marketing, printmaking, nature stewardship, inspiration, preparation, self-improvement, and more. The result is a profound and wide-ranging exploration of that magical convergence of light, land, and camera.

Filled with beautiful and inspiring photographs, Light on the Landscape is also full of the kind of wisdom that only comes from a deeply thoughtful photographer who has spent a lifetime communicating with a camera. Incorporating the lessons within the book, you too can learn to achieve not only technically excellent and beautiful images, but photographs that truly rise above your best and reveal your deeply personal and creative perspective—your vision, your voice.