PHOTOGRAPHY CRITICISM | THEORY

PUBLISHER
The Museum of Modern Art

BOOK FORMAT
Hardcover, 9.5 x 12 in. / 416 pgs / 390 color.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2017 p. 40   

PRODUCT DETAILS
ISBN 9781633450288 TRADE
List Price: $75.00 CDN $95.00

AVAILABILITY
In stock

  

THE MUSEUM OF MODERN ART

Photography at MoMA: 1840 to 1920

Edited with text by Quentin Bajac, Lucy Gallun, Roxana Marcoci, Sarah Hermanson Meister. Text by Geoffrey Batchen, Michel Frizot, Shelley Rice, Bonnie Yochelson.

"Pierrot Surprised" (1854–55) by Adrien Tournachon (French, 1825–1903), is reproduced from 'Photography at MoMA: 1840 to 1920.'

Photography at MoMA: 1840 to 1920 is the final volume in a set of three books that together present a new and comprehensive history of photography through works in The Museum of Modern Art’s collection.

Illustrated with over 400 reproductions, the book charts the photographic medium from early examples in the 1840s through its participation in international art movements such as Pictorialism and modernism. An in-depth introduction is followed by eight chapters of full-color plates, each introduced by a short essay, offering a fresh lens through which to appreciate works of exceptional significance, surprise and influence, and encouraging creative new readings. Masterworks by photographers such as Julia Margaret Cameron, Roger Fenton, Nadar, Frances Benjamin Johnston, Henry Fox Talbot, August Sander, Edward Steichen and Carleton Watkins appear alongside lesser-known gems and vernacular forms of photography.


"Pierrot Surprised" (1854–55) by Adrien Tournachon (French, 1825–1903), is reproduced from 'Photography at MoMA: 1840 to 1920.'

Photography at MoMA: 1840 to 1920

in stock  $75.00


Free Shipping

UPS GROUND IN THE CONTINENTAL U.S.
FOR CONSUMER ONLINE ORDERS

ARTBOOK | D.A.P. FALL 2017 CATALOG

Download a PDF of the new ARTBOOK | D.A.P. Fall 2017 catalog, featuring more than 600 forthcoming books on art, architecture, photography, design, theory and more!

FROM THE BOOK
EXCERPT, "Experiences with Reality" by Quentin Bajac

Stieglitz had been enjoying a renewed popularity in the early 1920s. The man described by Imogen Cunningham as “the father of us all” was once again 
a mentor to a generation of photographers, artists,
 and critics… Stieglitz liked this role, although 
he admitted in a 1923 letter to his friend, the writer
 Paul Rosenfeld, that he was unsure “about being as much an artist as one of the leading spiritual forces of this country”; indeed, a few years later the critic Henry McBride would compare him to a religious leader. Stieglitz’s circle in the early 1920s was made up of artists and photographers (O’Keeffe, John Marin, Charles Sheeler, Paul Strand) as well as writers (Waldo Frank, William Carlos Williams), all of them striving enthusiastically and optimistically to define a new American identity and a new American art, unencumbered by the weight and traditions of old Europe—which the war had left depleted. An art in search of spirituality and transcendence in the materialistic, technological American society, with its personal dimension as
 its main feature: an art composed of intuition and experience of the real.

Experience: the term is essential to the American avant-garde of the period, whatever the medium. Stieglitz’s photographs of skies from the 1920s, he said, were the equivalents “of my most profound life experience.” Ten years later, in 1935, Ansel Adams could still write, for the text accompanying his first show at An American Place, “In this exhibit I have tried to present certain personal experiences with reality. I have made no attempt to symbolize, to intellectualize, or to abstract what I have seen or felt.” As a crucial element of American pragmatism and suggestive of a more attentive relationship to nature, experience proposed a connection with the real by way of observation and feeling rather than reflection and intellect; as Stieglitz would say of his sky photographs, “I do not think any longer, I just feel.” Such primacy of feeling would also lead him to title these works using musical terms, as he did with Songs of the Sky or Music—A Sequence of Ten Cloud Photographs, thus marking them as expressions of art that can do without words—an art before language.

This emphasis on experience by American artists was developing at a time when the central notion espoused by the European photographic avant-gardes was experimentation, from the Constructivists to the Dadaist and Surrealist movements; “experience photography” here versus “experimental photography” there. The opposition is no doubt a bit schematic, both because counterexamples exist (the German Neue Sachlichkeit [New Objectivity] would frequently be compared to American photography of the same years) and because the two notions are not so reducibly dissimilar: many American photographers, Stieglitz chief among them, were working experimentally as well. Nevertheless, in the great modern and antipictorial project of searching for and identifying a pure photography, the vanguards in Europe and the United States followed different paths: the former—intellectual, objective, and messianic but also pedagogical and playful—investigating the medium in all its forms, especially the most composite and artificial (photomontage, photogram, solarization, double exposure, etc.); the latter was emotional, searching for truth via exact representation achieved in the most straightforward way possible, a strategy often expressed as respect for the subject. Modern American photography, called “straight” or “pure,” was marked by a certain puritanism: “pure” was understood in all senses of the term, literal (without tricks or manipulation) as well as figurative (true, that which does not lie). Ralph Steiner said as much of Strand: “For him there was something called Right and something called Wrong, and especially in photography they were poles apart. Like Stieglitz, he had no difficulty using that awesome word ‘truth.’”

FORTHCOMING AND NEW: PHOTOGRAPHY

Banking On Images: The Bettmann Archive and Corbis

BANKING ON IMAGES: THE BETTMANN ARCHIVE AND CORBIS

By Estelle Blaschke.

SPECTOR BOOKS

ISBN: 9783944669632 | US $39.00

Pub Date: 5/1/2015
Active | In stock


Summoning Pearl Harbor

SUMMONING PEARL HARBOR

By Alexander Nemerov.

DAVID ZWIRNER BOOKS

ISBN: 9781941701652 | US $12.95

Pub Date: 10/24/2017
Forthcoming


Recent Histories

RECENT HISTORIES

STEIDL / THE WALTHER COLLECTION

ISBN: 9783958293502 | US $65.00

Pub Date: 8/22/2017
Active | Awaiting stock


Photography at MoMA: 1840 to 1920

PHOTOGRAPHY AT MOMA: 1840 TO 1920

THE MUSEUM OF MODERN ART

ISBN: 9781633450288 | US $75.00

Pub Date: 10/24/2017
Active | In stock


One

ONE

Text by David Campany, Teju Cole, Christie Davis, John D’Agata, Michael Fried, Darius Himes, Leah Ollman, Laura Steward.

RADIUS BOOKS

ISBN: 9781942185345 | US $25.00

Pub Date: 10/24/2017
Forthcoming


Realism, Neorealism and Reality: Photographs in Italy 1932–1968

REALISM, NEOREALISM AND REALITY: PHOTOGRAPHS IN ITALY 1932–1968

Edited with text by Andrea Busto. Text by Roberta Voltorta, Enrica Viganò.

SILVANA EDITORIALE

ISBN: 9788836635283 | US $50.00

Pub Date: 9/26/2017
Active | In stock


Osmos Magazine: Issue 09

OSMOS MAGAZINE: ISSUE 09

Edited by Cay Sophie Rabinowitz, Tom McDonough, Eugenia Bell, et al.

OSMOS

ISBN: 9780986166556 | US $25.00

Pub Date: 8/23/2016
Active | In stock


Silent Dialogues: Diane Arbus & Howard Nemerov

SILENT DIALOGUES: DIANE ARBUS & HOWARD NEMEROV

By Alexander Nemerov.

FRAENKEL GALLERY

ISBN: 9781881337416 | US $29.95

Pub Date: 3/24/2015
Active | Awaiting stock


Conversations with Photographers 2010

CONVERSATIONS WITH PHOTOGRAPHERS 2010

Conversations with Gabriele Basilico, Roberta Valtorta, Luis Gonzalez Palma, Gerardo Mosquera, Anders Petersen.

LA FáBRICA/FUNDACIóN TELEFóNICA

ISBN: 9788492841981 | US $60.00

Pub Date: 12/31/2011
Active | In stock


Conversations with Photographers 2009

CONVERSATIONS WITH PHOTOGRAPHERS 2009

LA FáBRICA

ISBN: 9788492498895 | US $55.00

Pub Date: 3/31/2010
Active | Awaiting stock


Conversations with Photographers 2008

CONVERSATIONS WITH PHOTOGRAPHERS 2008

LA FáBRICA

ISBN: 9788492498307 | US $55.00

Pub Date: 3/31/2010
Active | In stock


Take Place

TAKE PLACE

Edited by Helen Westgeest. Text by Kitty Zijlmans, Thomas Crow, Barbara Hooper, Caroline van Eck.

VALIZ

ISBN: 9789078088356 | US $28.95

Pub Date: 2/28/2010
Active | Awaiting stock




print icon


arrow back


arrow back


ARTBOOK LOGO
 
 

the art world's source for books on art & culture

  

CUSTOMER SERVICE
orders@artbook.com
212 627 1999
M-F 9-5 EST

TRADE ACCOUNTS

800 338 2665

CONTACT

JOBS + INTERNSHIPS

NEW YORK
Showroom by Appointment Only
75 Broad Street, Suite 630
New York NY 10004
Tel   212 627 1999

LOS ANGELES
Showroom by Appointment Only
818 S. Broadway, Suite 700
Los Angeles, CA 90014
Tel. 323 969 8985

ARTBOOK LLC
D.A.P. | Distributed Art Publishers, Inc.


All site content Copyright C 2000-2017 by Distributed Art Publishers, Inc. and the respective publishers, authors, artists. For reproduction permissions, contact the copyright holders.

ARTBOOK AMPERSAT

The D.A.P. Catalog
www.artbook.com