The photographic object 1970 / edited by Mary Statzer.
Material type:
TextPublisher: Berkeley : University of California Press, 2016Description: 256 pages : illustrations (black and white, and colour) ; 26 cmContent type: text | still image Media type: unmediated Carrier type: volumeISBN: 9780520281479 (hbk.) :Subject(s): Photography into sculpture (Exhibition) (1970 : New York, N.Y.) | Art and photography -- Exhibitions | Photography -- History -- 20th century | Photography | PhotographyDDC classification: 779'.09'040747 Summary: In 1970 photography curator Peter C. Bunnell organised an exhibition called 'Photography into Sculpture' for the Museum of Modern Art, New York. The project, which brought together 23 photographers and artists from the United States and Canada, was among the first exhibitions to recognise work that blurred the boundaries between photography and other mediums. At once an exhibition catalogue after the fact, an oral history, and a critical reading of exhibitions and experimental photography during the 1960s and 1970s, this book proposes precedents for contemporary artists who continue to challenge traditional practices and categories.
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Browsing Paul Hamlyn Library shelves, Shelving location: Floor 3 Close shelf browser (Hides shelf browser)
| 779.0904 KRA L'amour fou : photography and surrealism / | 779.0904 PHO The photographic object 1970 / | 779.0904 PHO The photographic object 1970 / | 779.0904 PHO The photographic object 1970 / | 779.0904 PHO The photographic object 1970 / | 779.09045 UNF Unfixed : photography and postcolonial perspectives in contemporary art / | 779.092 ABR Francesca Woodman: Portrait of a Reputation. |
Includes bibliographical references and index.
In 1970 photography curator Peter C. Bunnell organised an exhibition called 'Photography into Sculpture' for the Museum of Modern Art, New York. The project, which brought together 23 photographers and artists from the United States and Canada, was among the first exhibitions to recognise work that blurred the boundaries between photography and other mediums. At once an exhibition catalogue after the fact, an oral history, and a critical reading of exhibitions and experimental photography during the 1960s and 1970s, this book proposes precedents for contemporary artists who continue to challenge traditional practices and categories.
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