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Jeff Wall has lived in his hometown of Vancouver for all but four years of his life. Most of the images he has created are shot in and around that city, yet his art transcends these local subjects and addresses universal themes of history and memory. That explains why his work is celebrated around the world and has been the subject of countless international exhibitions from the Tate Modern, to MoMa, to the Art Institute of Chicago. His importance to photoconceptualism is recognized throughout the art world and his cinematographic pictures are immensely popular with the public and the academy alike. The images he has chosen for North and West explore the meaning of history and how we remember the cities we inhabit. The towns imprinted in our minds no longer exist. Urban landscapes constantly change but the remnants of the past remain and history's influence never ends. North and West is a succinct and indispensable look into the profoundly moving and influential oeuvre of Jeff Wall.
"Jeff Wall is one of the most highly regarded artists at work in the world today and has played a key role in establishing photography as a contemporary art form. Jeff Wall: Photographs 1978-2004 has been developed in close collaboration with the artist and accompanies a major retrospective exhibition at Tate Modern, London. Featuring Wall's best known works, the large-scale carefully staged scenes presented as illuminated lightboxes, as well as black-and-white photographs, the book includes an insightful essay by Sheena Wagstaff. In it she examines the impact of art history and cinema on Wall's practice, revealing how he combines documentary techniques with meticulous staging and digital collage to realise his extraordinary vision."--BOOK JACKET.
This large format book is also the catalog of the exhibition of JeffWall held at the Museo Tamayo Contemporary Art in Mexico City.Includes some of his recent color photographs mounted in light boxes, and large black and white prints. For the Canadian artist, his photographs are divided into two categories: documentary, a representation of a specific place and space without manifest manipulation by the artist, and film, which recreates the contec and restructures. The latter category includes items from subtle movements within a given situationeven more elaborate approaches involve the construction of scenarios and other aspects of stage work. Although for Wall are two different working methods, has a greatinterest in how the two merge and overlap continuously overartistic practice. With many references to the outstanding naturalenvironment and distinctive urban character of the city ofVancouver, where the artist lives and works, the group ofphotographs reproduced here focuses primarily on the work created in the last seven years. This selection offers a compellinglook at the ways in which Wall continues to question and expandthe way that photography is defined and understood. Jeff Wallwas awarded the Hasselblad Award 2002 and his work is one of the most renowned museums and collections.
Essays by Peter Brger, Homay King, Tom Holert, Achim Hochdorfer, Fred Orton, Kaja Silverman, Gregor Stemmrich and Friedrich Tietjen.
"This book grapples with fundamental questions about the evolving nature of pictorial representation, and the role photography has played in this ongoing process. These issues are explored through a close analysis of key themes that underpin the photography practice of Canadian artist Jeff Wall and through examining important works that have defined his oeuvre. Wall's strategic revival of 'the picture' has had a resounding influence on the development of contemporary art photography, by expanding the conceptual and technical frameworks of the medium and introducing a self-reflexive criticality. Naomi Merritt brings a new and original contribution to the scholarship on one of the most significant figures to have shaped the course of contemporary art photography since the 1970s and shines a light on the multilayered connections between photography and art. This book will be of interest to scholars in the history of photography, art and visual culture, and contemporary art history"--
This book grapples with fundamental questions about the evolving nature of pictorial representation, and the role photography has played in this ongoing process. These issues are explored through a close analysis of key themes that underpin the photography practice of Canadian artist Jeff Wall and through examining important works that have defined his oeuvre. Wall’s strategic revival of ‘the picture’ has had a resounding influence on the development of contemporary art photography, by expanding the conceptual and technical frameworks of the medium and introducing a self-reflexive criticality. Naomi Merritt brings a new and original contribution to the scholarship on one of the most significant figures to have shaped the course of contemporary art photography since the 1970s and shines a light on the multilayered connections between photography and art. This book will be of interest to scholars in the history of photography, art and visual culture, and contemporary art history.
Examining a work that marked the emergence of photography as an art made for the gallery wall instead of the printed page. Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs—from the orthodox photographic work of Walker Evans to the Conceptual photography of Dan Graham—seemed intended for the page even when hung in a gallery. In Picture for Women, a woman looks outward, as if at the viewer; a camera occupies the center of the photograph; the photographer stands on the right. Modeled on Manet's famous painting Un bar aux Folies-Bergère, in which a barmaid seems to look directly out of the painting, observed by a man on the right, Picture for Women establishes its own art historical genealogy, claiming its rightful position within the canon. Wall's photograph is an ambitious attempt to relate the artistic and spectatorial demands of the late 1970s to a modernist pictorial art that had been too hastily rejected by Conceptualism. In this illustrated study, David Campany offers an account of Wall's move from a Conceptual approach to a reengagement with the idea of a singular (as opposed to serial) picture. He shows that Wall's decision to present his work as a large-scale back-lit transparency, together with his commitment to a singular image, amounted to a radical departure. He contrasts Wall's idea of the photograph as a tableau or “picture,” inherited from the history of painting, with the works of the “Pictures Generation” - including Richard Prince, Cindy Sherman, and Jack Goldstein—and argues that Picture for Women is inseparable from the modern fate of the picture in general
Throughout his career, Jeff Wall has written periodically on a variety of subjects, covering everything from the work of his Vancouver colleagues to the role of photography in conceptual art. This selection of his best essays and interviews is the first collection of Wall's texts to be published in English.
The photography of Jeff Wall (born 1946) is consciously and profoundly saturated in the social: in the Vancouver art community from which he first emerged, fully formed, in the late 1970s; in the racial and gender politics of our times, which he analyses with marvelous clarity in his huge photographic light boxes that declare an equal status with painting through their scale and their carefully plotted depth and grandeur; in the art history pantheon that informs his staged compositions, from Hokusai to Velásquez and Manet; and in his influence on at least two generations of photographers, most notably the Düsseldorf school (Andreas Gursky once cited Wall as "a great model for me" ). Jeff Wall: The Crooked Path examines the cultural context for Wall's tremendous achievement in photography. Wall himself has chosen 25 of his own photographs, taken between the late 1970s and the present, and has constellated them among the visionary company his work keeps, alongside reproductions of works by Marcel Duchamp, Diane Arbus, Eugene Atget, Wols, Andreas Gursky, David Claerbout, Thomas Struth, Frank Stella, Robert Smithson, Rodney Graham, Ian Wallace, Lawrence Wiener and R.W. Fassbinder. The Crooked Path orients Wall's photography across ten themed chapters, each of which is prefaced with an interview with Wall by Hans De Wolf. Also included are testimonies and essays by fellow artists and art historians, such as Luc Tuymans, Lawrence Weiner, Michael Fried and David Campany.