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With his iconic, minimalist photographs of suburban landscape, Lewis Baltz was at the forefront of a revolutionary shift in the medium of photography. Baltzs work exemplifies the ways in which photography started to loose the bonds of its isolation within its own segregated history and aesthetics and began to take its place among other media. In the late 1960s and early 1970s Baltz became fascinated by the stark, man-made landscape rolling over Californias then still-agrarian terrain. His earliest portfolio, The Tract Houses (1971), and his preliminary forays into a minimal aesthetic, The Prototype Works (1967-1976), illuminate his drive to capture the reality of a sprawling Western ecology gone wild. His best known work from the period, The new Industrial Parks near Irvine, California (1974), was followed by two smaller projects, Maryland (1976) and Nevada (1977). In the following decade Baltz published three major books, Park City (1980), San Quentin Point (1986) and Candlestick Point (1989), exploring these themes.
With his iconic, minimalist photographs of suburban landscape, Lewis Baltz was at the forefront of a revolutionary shift in the medium of photography. Baltzs work exemplifies the ways in which photography started to loose the bonds of its isolation within its own segregated history and aesthetics and began to take its place among other media. In the late 1960s and early 1970s Baltz became fascinated by the stark, man-made landscape rolling over Californias then still-agrarian terrain. His earliest portfolio, The Tract Houses (1971), and his preliminary forays into a minimal aesthetic, The Prototype Works (1967-1976), illuminate his drive to capture the reality of a sprawling Western ecology gone wild. His best known work from the period, The new Industrial Parks near Irvine, California (1974), was followed by two smaller projects, Maryland (1976) and Nevada (1977). In the following decade Baltz published three major books, Park City (1980), San Quentin Point (1986) and Candlestick Point (1989), exploring these themes.
With his iconic, minimalist photographs of suburban landscape, Lewis Baltz was at the forefront of a revolutionary shift in the medium of photography. Baltzs work exemplifies the ways in which photography started to loose the bonds of its isolation within its own segregated history and aesthetics and began to take its place among other media. In the late 1960s and early 1970s Baltz became fascinated by the stark, man-made landscape rolling over Californias then still-agrarian terrain. His earliest portfolio, The Tract Houses (1971), and his preliminary forays into a minimal aesthetic, The Prototype Works (1967-1976), illuminate his drive to capture the reality of a sprawling Western ecology gone wild. His best known work from the period, The new Industrial Parks near Irvine, California (1974), was followed by two smaller projects, Maryland (1976) and Nevada (1977). In the following decade Baltz published three major books, Park City (1980), San Quentin Point (1986) and Candlestick Point (1989), exploring these themes.
With his iconic, minimalist photographs of suburban landscape, Lewis Baltz was at the forefront of a revolutionary shift in the medium of photography. Baltzs work exemplifies the ways in which photography started to loose the bonds of its isolation within its own segregated history and aesthetics and began to take its place among other media. In the late 1960s and early 1970s Baltz became fascinated by the stark, man-made landscape rolling over Californias then still-agrarian terrain. His earliest portfolio, The Tract Houses (1971), and his preliminary forays into a minimal aesthetic, The Prototype Works (1967-1976), illuminate his drive to capture the reality of a sprawling Western ecology gone wild. His best known work from the period, The new Industrial Parks near Irvine, California (1974), was followed by two smaller projects, Maryland (1976) and Nevada (1977). In the following decade Baltz published three major books, Park City (1980), San Quentin Point (1986) and Candlestick Point (1989), exploring these themes.
This long-awaited collection of Blaisdell's critical writings includes essays on literature, art, and film, along with moving tributes by some of the distinguished writers who numbered Blaisdell among their friends.
Selección de fotos de la exposición de Britt Salvesen?NewTopographics?, que presentada en 1975 diversas fotografías de fotógrafos norteamericanos. Este libro presenta la importancia histórica de la exposición. Se seleccionaron trabajos de la exposición, vistas de instalación, comparaciones contextuales y una lista de comprobación ilustrada del espectáculo.
The book discusses Mario Pfeifer's recent 16mm film installation Reconsidering The new Industrial Parks near Irvine, California by Lewis Baltz, 1974. This installation, consisting of two synchronized, looped, and parallel projected films, takes its point of departure from the first monograph of Baltz's work, published by Castelli Graphics, New York in 1974. Over the last four decades, Lewis Baltz has continuously produced highquality photographic books. This publication functions as a critical reader, reevaluating "New Topographics" as representations of landscapes. Looking at Pfeifer's installation, which re-visits a Baltz's photographic site, Vanessa Joan Müller negotiates the terms realism / reality and the way Pfeifer discovers the mis-representation of a modern industrial building in Irvine's Industrial Park in 2009. Martin Hochleitner contextualizes Pfeifer's film installation within the context of the original "New Topographics" exhibitions (1975), which, since 2009, are being shown throughout the United States and Europe. In addition, this publication consists of film stills, production stills, and a rare interview by Mario Pfeifer with Lewis Baltz. It was published on the occasion of Mario Pfeifer's contribution for the "New Topographics" exhibitions at Los Angeles County Museum of Art and Landesgalerie Linz in 2010. Contributors Chris Balaschak, Lewis Baltz, Martin Hochleitner, Julia Moritz, Vanessa Joan Müller, and a conversation between Lewis Baltz and Mario Pfeifer