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Bindng
Why Photography Matters as Art as Never Before
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A renowned critic and historian offers a radically new account of the meaning of ambitious art photography since the BechersFrom the late 1970s onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship between the photograph and the viewer standing before it that until then had been the province only of painting. Fried further demonstrates that certain philosophically deep problemsassociated with notions of theatricality, literalness, and objecthood, and touching on the role of original intention in artistic production, first discussed in his controversial essay Art and Objecthood (1967)have come to the fore once again in recent photography. This means that the photographic ghetto no longer exists; instead photography is at the cutting edge of contemporary art as never before.Among the photographers and videomakers whose work receives serious attention in this powerfully argued book are Jeff Wall, Hiroshi Sugimoto, Cindy Sherman, Thomas Struth, Thomas Ruff, Andreas Gursky, Luc Delahaye, Rineke Dijkstra, Patrick Faigenbaum, Roland Fischer, Thomas Demand, Candida Hfer, Beat Streuli, PhilipLorca diCorcia, Douglas Gordon and Philippe Parreno, James Welling, and Bernd and Hilla Becher. Future discussions of the new art photography will have no choice but to take a stand for or against Frieds conclusions.
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