PHOTOGRAPHY SURVEYS & COLLECTIONS

TITLE

The Last Picture Show

IMPRINT

Walker Art Center

PRICE US

$44.95 CDN $44.95

ISBN

9780935640762 TRADE

FORMAT

Hardcover, 8 x 10.5 in., 304 pgs, 160 color.

CATALOG

FALL 2003

DISTRIBUTOR

D.A.P.

PUB DATE

11/2/2003

STATUS

Active

STOCK

In stock

NEW & FORTHCOMING

NEXT STOP: ITALY

Edited by Renato Miracco. Text by Verna Curtis, Luca Panaro.
CHARTA

THIS IS MARS

Edited and designed by Xavier Barral. Text by Alfred S. McEwen, Francis Rocard, Nicolas Mangold. Photographs by NASA/MRO.
APERTURE

CALIFORNIA SURFING AND CLIMBING IN THE FIFTIES

Text by Yvon Chouinard, Steve Pezman, Steve Roper.
T. ADLER BOOKS

COTIDIANO: LATINO/U.S.

Edited by Claudi Carreras.
RM/SPAIN-USA FOUNDATION

GIFTS FOR GRADS 2013: 50 Perfect Choices for Recent Graduates!

  

WALKER ART CENTER

The Last Picture Show

Artists Using Photography 1960-1982

Edited by Douglas Fogle. Essays by Douglas Fogle, Kate Bush, Richard Flood, Geoffrey Batchen, Stefan Gronnert and Pamela Lee. Foreword by Kathy Halbreich.

Photography has become an increasingly pervasive medium of choice in contemporary art practice and is even employed at times by artists who do not necessarily consider themselves to be photographers. How did this come to be? The Last Picture Show will address the emergence of this phenomenon of artists using photography by tracing the development of conceptual trends in postwar photographic practice from its first glimmerings in the 60s in the work of artists such as Bernd & Hilla Becher, Ed Ruscha and Bruce Nauman, to its rise to art-world prominence in the work of the artists of the late 70s and early 80s including Sherrie Levine, Richard Prince and Cindy Sherman. Intended as a major genealogy of the rise of a still-powerful and evolving photographic practice by artists, the checklist will include a wide array of works examining a range of issues: performativity and photographic practice; portraiture and cultural identity; the formal and social architectonics of the built environment; societal and individual interventions in the landscape; photography's relationship to sculpture and painting; the visual mediation of meaning in popular culture; and the poetic and conceptual investigation of visual non-sequiturs, disjunctions and humorous absurdities. Bringing together a newly commissioned body of scholarship with reprints of important historical texts, The Last Picture Show seeks to define the legacy that has produced a rich body of photographic practice in the art world today.

The Last Picture Show

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