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Type of bind: Paperback
Dewey Decimal Number: 770.97471
EAN num: 9780300094459
ISBN number: 0300094450
Label: Yale University Press
Manufacturer: Yale University Press
Quantity: 1
Page Count: 208
Printing Date: May 01, 2002
Publishing house: Yale University Press
Sale Popularity Level: 885175
Studio: Yale University Press
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For street photographers, New York has always been a city of unparalleled visual excitement, teeming with diverse people and distinctive neighbourhoods. This is an examination of how photographers chronicled New York throughout the 20th century, how the city changed their vision, and how their work affected ideas about New York throughout the world. The volume presents the work of both famous and lesser-known photographers, many of them Jewish. An underlying theme in this pictorial history of New York is the critical role played by Jewish sensibility. Max Kozloff begins with the development of street photography that emerged in New York in the early 1900s with a local school of photographers led by Alfred Stieglitz. Documenting work, loneliness, play, conflict, love and spectacle, this group came to define urban perception as the characteristic visual experience of modernity. Some photographers also became social activists, observing New York's ethnic and racial diversity and focusing their lenses on newcomers and marginalized groups. From the 1930s to 1960s, Kozloff shows, members of the New York School envisioned the city in a different way, as a processing centre for immigrants, a site of commercial display, and a crossroads of world culture. In the 1950s and 1960s, photographers saw New York as an uneasy battleground, and their pictures caught the forces of civil rights, sexual liberation, and leftist politics as they clashed with traditional powers. Finally, as the century waned, photographers became more self-conscious, The photographers featured in this book include Berenice Abbott, Diane Arbus, Richard Avedon, Margaret Bourke-White, Henri Cartier-Bresson, Larry Clark, Walker Evans, Lee Friedlander, Nan Goldin, Lewis Hine, Joel Myerowitz, Gordon Parks, Irving Penn, Ben Shahn, Edward Steichen, Alfred Steiglitz, Paul Strand, Weegee, and Garry Winogrand.
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Rated by buyers -
Had really no time to finalize the book so far, however, quick overview: as always, one of the most original authors on photography (along with Ian Jeffrey), Max Kozloff exploits the depth of the medium with exceptional originality and taste. I would highly recommend to anyone interested in the medium of photography as such as well as to those interested in excellent criticism of nowadays.
Rated by buyers -
New York: Capital of Photography is one of those rare books that takes on a difficult subject and carries it off so well that more is achieved than any reader could normally expect.
The subject is New York City in the 20th century. How did the most prominent and highly respected photographers look at and capture the Big Apple? That's the subject here. The only photographers that you might have expected to be in the book that aren't are Diane Arbus, Roy DeCarava and Robert Frank -- due to disputes with Ms. Arbus's daughter and the latter two photographers. So it?s quite complete.
I am a photography fan, and was familiar with most of the photographers covered in the book. But I found the book built on my previous understanding of their work by exposing me to works that I had not seen before and by carefully explaining those works. Some may be disappointed that many iconographic works are not included here . . . but many of those are referenced in Max Kozloff's essay. So you'll see them indirectly in your mind.
The plates capture many different focuses for photography, different styles, varieties of techniques and equipment, and different philosophies about the purpose of photography. As such, they present a catalog of the whole field of photography in the last century. That catalog is more valuable because it concentrates on one subject . . . in many different dimensions.
Frankly, how do you capture New York on film? You can't. Most photographers tried to capture tiny elements that express universal truths. Some succeeded in timeless ways while others created time-limited archives of the past.
As wonderful as the photographs are, the essay by Max Kozloff is what sets this book apart from other photography books. It's as though he gives you a personal tour of the show and answers your questions about the photographers and the plates in as much detail as you want. Almost every plate is discussed and some figures are added for context as well. Seeing the collection through his eyes was like suddenly being loaned an advanced degree in photography studies. Enlivened by this education, I'm sure my eye will always notice more about fine photography when I see it displayed in the future.
I highly recommend this book to anyone who wants to deepen their understanding of this field. In addition, I strongly urge New Yorkers to get copies. The sights captured here will trigger many important memories.
As I finished this wonderful volume, I thought about how fortunate photography students would be if their teachers used this book as a source . . . and then assigned the students to photograph New York.
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