The photobook: from Talbot to Ruscha and beyond
Gespeichert in:
| Format: | Elektronisch E-Book |
|---|---|
| Sprache: | English |
| Veröffentlicht: |
London
I.B. Tauris
2012
|
| Schlagworte: | |
| Online-Zugang: | FAW01 FAW02 Volltext |
| Beschreibung: | Print version record |
| Beschreibung: | 1 online resource (252 pages) |
| ISBN: | 0857721410 9780857721419 |
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| 245 | 1 | 0 | |a The photobook |b from Talbot to Ruscha and beyond |c edited by Patrizia Di Bello, Colette Wilson and Shamoon Zamir |
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| 505 | 8 | |a NOTES ON CONTRIBUTORS; PICTURE CREDITS; ACKNOWLEDGEMENTS; INTRODUCTION; H. Fox Talbot's 'Scotch Views' for Sun Pictures in Scotland (1845) -- Graham Smith; 'Art-Science': The North American Indian (1907-30) as Photobook -- Shamoon Zamir; Emil Otto Hoppé, Autobiography, and Cultural Moments -- Mick Gidley; Recalcitrant Intervention: Walker Evans's Pages -- David Campany; Sculpture, Photograph, Book: The Sculptures of Picasso (1949) -- Patrizia Di Bello; A Kind of a 'Huh?': The Siting of Twentysix Gasoline Stations (1962) -- Ian Walker | |
| 505 | 8 | |a Beyond the Exhibition -- from Catalogue to Photobook -- Liz Wells'The book the nation is waiting for!': One Day for Life (1987) -- Annebella Pollen; A Spectre is Leaving Europe (1990): Appropriation in a Post-communist Photobook -- David Evans; The Photobook as Object of Memory and Nostalgia: Alexandrie l'Égyptienne (1998) by Carlos Freire and Robert Solé -- Colette Wilson; The Eye of the Lens and the Feet of the Photographer: Eduardo Gageiro's Lisboa No Cais Da Memoria (2003) -- Paul Melo e Castro | |
| 505 | 8 | |a Orhan Pamuk's Melancholic Narrative and Fragmented Photographic Framing -- Istanbul: Memories of a city (2005) -- Grabriel KoureasSelected Bibliography; Index | |
| 505 | 8 | |a The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot's The Pencil of Nature heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers across several fields of scholarship share a range of fresh approaches to reading the photobook, developing new ways of understanding how meaning is shaped by an image's interaction with its text and context and engaging with the visual, tactile and interactive experience of the photobook in all its dimensions. Through close studies of individual works, the photobook from fetishised objet d'art to cheaply-printed booklet is explored and its unique creative and cultural contributions celebrated | |
| 648 | 7 | |a Geschichte |2 gnd |9 rswk-swf | |
| 650 | 4 | |a Fine Arts | |
| 650 | 7 | |a PHOTOGRAPHY / Criticism |2 bisacsh | |
| 650 | 7 | |a PHOTOGRAPHY / History |2 bisacsh | |
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| contents | NOTES ON CONTRIBUTORS; PICTURE CREDITS; ACKNOWLEDGEMENTS; INTRODUCTION; H. Fox Talbot's 'Scotch Views' for Sun Pictures in Scotland (1845) -- Graham Smith; 'Art-Science': The North American Indian (1907-30) as Photobook -- Shamoon Zamir; Emil Otto Hoppé, Autobiography, and Cultural Moments -- Mick Gidley; Recalcitrant Intervention: Walker Evans's Pages -- David Campany; Sculpture, Photograph, Book: The Sculptures of Picasso (1949) -- Patrizia Di Bello; A Kind of a 'Huh?': The Siting of Twentysix Gasoline Stations (1962) -- Ian Walker Beyond the Exhibition -- from Catalogue to Photobook -- Liz Wells'The book the nation is waiting for!': One Day for Life (1987) -- Annebella Pollen; A Spectre is Leaving Europe (1990): Appropriation in a Post-communist Photobook -- David Evans; The Photobook as Object of Memory and Nostalgia: Alexandrie l'Égyptienne (1998) by Carlos Freire and Robert Solé -- Colette Wilson; The Eye of the Lens and the Feet of the Photographer: Eduardo Gageiro's Lisboa No Cais Da Memoria (2003) -- Paul Melo e Castro Orhan Pamuk's Melancholic Narrative and Fragmented Photographic Framing -- Istanbul: Memories of a city (2005) -- Grabriel KoureasSelected Bibliography; Index The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot's The Pencil of Nature heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers across several fields of scholarship share a range of fresh approaches to reading the photobook, developing new ways of understanding how meaning is shaped by an image's interaction with its text and context and engaging with the visual, tactile and interactive experience of the photobook in all its dimensions. Through close studies of individual works, the photobook from fetishised objet d'art to cheaply-printed booklet is explored and its unique creative and cultural contributions celebrated |
| ctrlnum | (OCoLC)796383098 (DE-599)BVBBV043036272 |
| dewey-full | 770.9 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 770 - Photography, computer art, cinematography |
| dewey-raw | 770.9 |
| dewey-search | 770.9 |
| dewey-sort | 3770.9 |
| dewey-tens | 770 - Photography, computer art, cinematography |
| discipline | Kunstgeschichte |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Electronic eBook |
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| spelling | The photobook from Talbot to Ruscha and beyond edited by Patrizia Di Bello, Colette Wilson and Shamoon Zamir London I.B. Tauris 2012 1 online resource (252 pages) txt rdacontent c rdamedia cr rdacarrier Print version record NOTES ON CONTRIBUTORS; PICTURE CREDITS; ACKNOWLEDGEMENTS; INTRODUCTION; H. Fox Talbot's 'Scotch Views' for Sun Pictures in Scotland (1845) -- Graham Smith; 'Art-Science': The North American Indian (1907-30) as Photobook -- Shamoon Zamir; Emil Otto Hoppé, Autobiography, and Cultural Moments -- Mick Gidley; Recalcitrant Intervention: Walker Evans's Pages -- David Campany; Sculpture, Photograph, Book: The Sculptures of Picasso (1949) -- Patrizia Di Bello; A Kind of a 'Huh?': The Siting of Twentysix Gasoline Stations (1962) -- Ian Walker Beyond the Exhibition -- from Catalogue to Photobook -- Liz Wells'The book the nation is waiting for!': One Day for Life (1987) -- Annebella Pollen; A Spectre is Leaving Europe (1990): Appropriation in a Post-communist Photobook -- David Evans; The Photobook as Object of Memory and Nostalgia: Alexandrie l'Égyptienne (1998) by Carlos Freire and Robert Solé -- Colette Wilson; The Eye of the Lens and the Feet of the Photographer: Eduardo Gageiro's Lisboa No Cais Da Memoria (2003) -- Paul Melo e Castro Orhan Pamuk's Melancholic Narrative and Fragmented Photographic Framing -- Istanbul: Memories of a city (2005) -- Grabriel KoureasSelected Bibliography; Index The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot's The Pencil of Nature heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers across several fields of scholarship share a range of fresh approaches to reading the photobook, developing new ways of understanding how meaning is shaped by an image's interaction with its text and context and engaging with the visual, tactile and interactive experience of the photobook in all its dimensions. Through close studies of individual works, the photobook from fetishised objet d'art to cheaply-printed booklet is explored and its unique creative and cultural contributions celebrated Geschichte gnd rswk-swf Fine Arts PHOTOGRAPHY / Criticism bisacsh PHOTOGRAPHY / History bisacsh Photobooks fast Geschichte Photobooks Fotobuch (DE-588)7660057-9 gnd rswk-swf 1\p (DE-588)4143413-4 Aufsatzsammlung gnd-content Fotobuch (DE-588)7660057-9 s Geschichte z 2\p DE-604 Di Bello, Patrizia Sonstige oth Wilson, Colette Sonstige oth Shamoon, Zamir Sonstige oth Erscheint auch als Druck-Ausgabe Di Bello, Patrizia Photobook : From Talbot to Ruscha and Beyond http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=462745 Aggregator Volltext 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk 2\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | The photobook from Talbot to Ruscha and beyond NOTES ON CONTRIBUTORS; PICTURE CREDITS; ACKNOWLEDGEMENTS; INTRODUCTION; H. Fox Talbot's 'Scotch Views' for Sun Pictures in Scotland (1845) -- Graham Smith; 'Art-Science': The North American Indian (1907-30) as Photobook -- Shamoon Zamir; Emil Otto Hoppé, Autobiography, and Cultural Moments -- Mick Gidley; Recalcitrant Intervention: Walker Evans's Pages -- David Campany; Sculpture, Photograph, Book: The Sculptures of Picasso (1949) -- Patrizia Di Bello; A Kind of a 'Huh?': The Siting of Twentysix Gasoline Stations (1962) -- Ian Walker Beyond the Exhibition -- from Catalogue to Photobook -- Liz Wells'The book the nation is waiting for!': One Day for Life (1987) -- Annebella Pollen; A Spectre is Leaving Europe (1990): Appropriation in a Post-communist Photobook -- David Evans; The Photobook as Object of Memory and Nostalgia: Alexandrie l'Égyptienne (1998) by Carlos Freire and Robert Solé -- Colette Wilson; The Eye of the Lens and the Feet of the Photographer: Eduardo Gageiro's Lisboa No Cais Da Memoria (2003) -- Paul Melo e Castro Orhan Pamuk's Melancholic Narrative and Fragmented Photographic Framing -- Istanbul: Memories of a city (2005) -- Grabriel KoureasSelected Bibliography; Index The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot's The Pencil of Nature heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers across several fields of scholarship share a range of fresh approaches to reading the photobook, developing new ways of understanding how meaning is shaped by an image's interaction with its text and context and engaging with the visual, tactile and interactive experience of the photobook in all its dimensions. Through close studies of individual works, the photobook from fetishised objet d'art to cheaply-printed booklet is explored and its unique creative and cultural contributions celebrated Fine Arts PHOTOGRAPHY / Criticism bisacsh PHOTOGRAPHY / History bisacsh Photobooks fast Geschichte Photobooks Fotobuch (DE-588)7660057-9 gnd |
| subject_GND | (DE-588)7660057-9 (DE-588)4143413-4 |
| title | The photobook from Talbot to Ruscha and beyond |
| title_auth | The photobook from Talbot to Ruscha and beyond |
| title_exact_search | The photobook from Talbot to Ruscha and beyond |
| title_full | The photobook from Talbot to Ruscha and beyond edited by Patrizia Di Bello, Colette Wilson and Shamoon Zamir |
| title_fullStr | The photobook from Talbot to Ruscha and beyond edited by Patrizia Di Bello, Colette Wilson and Shamoon Zamir |
| title_full_unstemmed | The photobook from Talbot to Ruscha and beyond edited by Patrizia Di Bello, Colette Wilson and Shamoon Zamir |
| title_short | The photobook |
| title_sort | the photobook from talbot to ruscha and beyond |
| title_sub | from Talbot to Ruscha and beyond |
| topic | Fine Arts PHOTOGRAPHY / Criticism bisacsh PHOTOGRAPHY / History bisacsh Photobooks fast Geschichte Photobooks Fotobuch (DE-588)7660057-9 gnd |
| topic_facet | Fine Arts PHOTOGRAPHY / Criticism PHOTOGRAPHY / History Photobooks Geschichte Fotobuch Aufsatzsammlung |
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