20TH CENTURY MOVEMENTS

PUBLISHER
The Museum of Modern Art, New York

BOOK FORMAT
Hardcover, 9.5 x 12 in. / 242 pgs / 120 color / 180 bw.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2010 p. 17   

PRODUCT DETAILS
ISBN 9780870707575 TRADE
List Price: $55.00 CDN $72.50

AVAILABILITY
In stock

EXHIBITION SCHEDULE

New York
The Museum of Modern Art, 08/01/10-11/01/10

Switzerland
Kunsthaus Zürich, 02/25/11-05/15/11

"The Original Copy represents a ground-breaking contribution to the study of photography. Its conceptual frame invites the reader to reconsider the photography of sculpture and indeed to question the genres of sculpture and performance all together. The authors approach what could be overly dense theoretical material in clear and insightful ways. The forward-looking yet user-friendly methodology of the text is paired with an equally clean and elegant book design."
- Jay Clarke, Manton Curator of Prints, Drawings, and Photographs at the Sterling and Francine Clark Art Institute, and AAMC prize jury chair.

  

THE MUSEUM OF MODERN ART, NEW YORK

The Original Copy: Photography of Sculpture, 1839 to Today

Edited by Roxana Marcoci. Text by Roxana Marcoci, Geoffrey Batchen, Tobia Bezzola.

"As Arturo Schwarz indicates, 'up to the late 1940s most of Man Ray's objects were assembled chiefly to provide unusual subjects for unconventional photographs. Once they had served this purpose they were discarded, dismantled, forgotten or lost.'" <p>

The image featured here is one of those photographs Schwarz describes. Man Ray's <i>Woman</i>, 1918, and the excerpt above, are from <a href="http://www.artbook.com/9780870707575.html">The Original Copy: Photography of Sculpture, 1839 to Today.</a>Since its birth in the first half of the nineteenth century, photography has offered extraordinary possibilities of documenting, redefining and disseminating works of art. Through crop, focus, angle of view, degree of close-up and lighting, as well as through expostfacto techniques of dark room manipulation, collage, montage and assemblage, artists not only interpret the works they record but create stunning reinventions of them. The Original Copy: Photography of Sculpture, 1839 to Today presents a critical examination of the intersections between photography and sculpture, exploring how the one medium has become implicated in the understanding of the other. Through a selection of nearly 300 outstanding pictures by more than 100 artists from the nineteenth century to the present, The Original Copy looks at how and why sculpture became a photographic subject and how photography at once informs and challenges our knowledge of sculpture. The images range in subject from inanimate objects to performing bodies, and include major works by Manuel Alvarez Bravo, Eugène Atget, Herbert Bayer, Hans Bellmer, Constantin Brancusi, Brassaï, Claude Cahun, Ken Domon, Marcel Duchamp, Fischli/Weiss, Robert Frank, Lee Friedlander, David Goldblatt, Rachel Harrison, Hannah Höch, André Kertész, Louise Lawler, Man Ray, Bruce Nauman, Charles Nègre, David Smith, Alina Szapocznikow, Gillian Wearing, Hannah Wilke and Iwao Yamawaki, among others.

"As Arturo Schwarz indicates, 'up to the late 1940s most of Man Ray's objects were assembled chiefly to provide unusual subjects for unconventional photographs. Once they had served this purpose they were discarded, dismantled, forgotten or lost.'"

The image featured here is one of those photographs Schwarz describes. Man Ray's Woman, 1918, and the excerpt above, are from The Original Copy: Photography of Sculpture, 1839 to Today.

The Original Copy: Photography of Sculpture, 1839 to Today

in stock  $55.00


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FROM THE BOOK

The Association of Art Museum Curators has honored The Original Copy: Photography of Sculpture, 1839 to Today as the 2010 Outstanding Catalogue based on an Exhibition.

"The Original Copy represents a ground-breaking contribution to the study of photography. Its conceptual frame invites the reader to reconsider the photography of sculpture and indeed to question the genres of sculpture and performance all together. The authors approach what could be overly dense theoretical material in clear and insightful ways. The forward-looking yet user-friendly methodology of the text is paired with an equally clean and elegant book design."

- Jay Clarke, Manton Curator of Prints, Drawings, and Photographs at the Sterling and Francine Clark Art Institute, and AAMC prize jury chair.

FROM THE ARTBOOK BLOG

JONATHAN SCHNEIDER | DATE 6/9/2011

Two ARTBOOK | DAP titles have received awards from the Association of Art Museum Curators

The Association of Art Museum Curators Awards

ARTBOOK | D.A.P is very proud to announce that both Modern Women: Women Artists at the Museum of Modern Art and Original Copy: Photography of Sculpture 1839 to Today have received an annual award for excellence in 2010 from The Association of Art Museum Curators (AAMC). continue to blog


FROM THE ARTBOOK BLOG

THOMAS EVANS | DATE 8/11/2010

The Original Copy
Sculpture and Photography

The Original Copy

Published for a show at The Museum of Modern Art in New York, The Original Copy proposes an intriguing corollary to Mallarmé's famous dictum that "everything in the world exists in order to end up as a book": that all sculpture exists to end up as a photograph, that this fact affords a further creative-interpretive occasion and that the photographing of sculpture constitutes its own hitherto unidentified genre within both photography and sculpture. Photography has of course proved to be the final condition of numerous lost or destroyed artworks, but here, MoMA curator Roxana Marcoci, who has conceived the book and accompanying show, describes a deeper collaboration between photography and sculpture, in which the photograph allows the sculpture to be performed and dramatized in ways that simply exhibiting the sculpture, in 'real time' and 'real space,' doesn't permit. What does this photographic 'performing of sculpture' entail? Frequently, it entails a defusion of the object's spatial neutrality (so enhanced by exhibition and museum display) into a stage that is not the world, but the world rendered as theater. Attaining this shift in object status, sculpture can then ostensibly move among the world's objects, but operating parenthetically like a toy, or a body part, or a tool enabling or collaborating with moving bodies; and perhaps more importantly, it can begin to at least invoke the atmosphere of a temporality and duration in which the object participates, recorded in the photographic instant. continue to blog


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