Andere Kunden interessierten sich auch für
![A Call to Vision]( "A Call to Vision")
A Call to Vision83,99 €![The Language of Light and Dark: Light and Place in Australian Photography]( "The Language of Light and Dark: Light and Place in Australian Photography")
The Language of Light and Dark: Light and Place in Australian Photography53,99 €![The Figure of Christ in Contemporary Photography]( "The Figure of Christ in Contemporary Photography")
The Figure of Christ in Contemporary Photography60,99 €![The Handbook of Photography Studies]( "The Handbook of Photography Studies")
The Handbook of Photography Studies220,99 €![Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art]( "Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art")
Looking at Photographs: 100 Pictures from the Collection of the Museum of Modern Art37,99 €![The Ongoing Moment]( "The Ongoing Moment")
The Ongoing Moment18,99 €![The Origins of American Photography 1839-1885]( "The Origins of American Photography 1839-1885")
The Origins of American Photography 1839-188566,99 €
In the seventies, a group of American photographers challenged the established, modernist mode of photographic expression. Instead of viewing the camera as an objective, optical device and photographs as mechanically reproducible artistic products, the proponents of the new staged photography' seized the possibilities of conveying holistic life experiences by employing a full range of sensory impressions. In Impure Vision, photography theorist Moa Goysdotter analyses the work of four of the leading names in this new genre -- Les Krims, Duane Michals, Arthur Tress, and Lucas Samaras. Applying new perspectives to Seventies' art photography, she sheds fresh light on the four artists' critiques of purist ideals, and looks closely at their efforts to transcend the limitations of the purely visual effect of photography. Impure vision not only tells the history of American staged photography in a broad perspective, drawing on theories and methods new to the field, but also puts forward new approaches to photography history and theory in general.