ARTBOOK BLOGEventsStore NewsMuseum Stores of the MonthNew Title ReleasesStaff PicksImage GalleryBooks in the MediaExcerpts & EssaysArtbook InterviewsEx LibrisAt First SightThe Artbook 2023 Gift GuidesArtbook Featured Image ArchiveArtbook D.A.P. Events ArchiveDATE 7/22/2024 Explore the influence of Islamic art and design on Cartier luxury objectsDATE 7/18/2024 Join us at the San Francisco Art Book Fair, 2024!DATE 7/18/2024 History and healing in Calida Rawles' 'Away with the Tides'DATE 7/16/2024 Join us at the Atlanta Gift & Home Summer Market 2024DATE 7/15/2024 In 'Gordon Parks: Born Black,' a personal report on a decade of Black revoltDATE 7/14/2024 Familiar Trees presents a marathon reading of Bernadette Mayer's 'Memory'DATE 7/11/2024 Early 20th-century Japanese graphic design shines in 'Songs for Modern Japan'DATE 7/8/2024 For 1970s beach vibe, you can’t do better than Joel Sternfeld’s ‘Nags Head’DATE 7/5/2024 Celebrate summer with Tony Caramanico’s Montauk Surf JournalsDATE 7/4/2024 For love, and for countryDATE 7/1/2024 Summertime Staff Picks, 2024!DATE 7/1/2024 Enter the dream space of Francesca Woodman and Julia Margaret CameronDATE 6/30/2024 Celebrate the extraordinary freedom of Cookie Mueller in this Pride Month Pick | AT FIRST SIGHTMING LIN | DATE 7/8/2011Documenta Notebooks: Ian Wallace, The First Documenta, 1955Ian Wallace is well versed in the power of the image. Often recognized as the father of the Vancouver School of conceptual photography, which includes renowned artists such as Jeff Wall and Rodney Graham, he has pioneered a style that employs and critiques the tropes of mass media, often by way of reference to pop culture and contemporary events. These artists seek to apply the tools of conceptual art to photography in hopes of instigating social change. Jeff Wall's photos, for example, recall cinematic tableaux but are host to less romantic themes such as changing demographics in cities and suburban dystopias. Wallace’s works, which often meld painting and photography, contemplate the dual identity of the artist as both the passive observer and, conversely, authoritative documentarian of society. |