What are young photographers up to at the outset of the twenty-first century? How do they see the world? How much do they respect, build on or reject tradition? Are they busy in the darkroom or in the computer lab--or both? reGeneration sets out to discover answers to these intriguing questions, previewing the work of 50 photographers who may well emerge as some of the finest of their generation. This remarkable book, the broadest and most enterprising survey of its kind, showcases the creativity, ingenuity and inspiration of these up-and-coming artists in over 200 superb images. Curators at the world-renowned Musee de l'Elysee in Lausanne, France, selected the featured photographers from hundreds of candidates submitted by more than 60 of the world's top photography schools. The panel's choice was made with one key question in mind: are these images likely to be known in 20 years' time? The results show that, as the new century builds momentum, the art of photography is alive and well, and photographers of extraordinary talent are already making their mark.
"synopsis" may belong to another edition of this title.
Jean Christopher Blaser is an art historian and associate curator at the Musee de l'Elysee.
The editors of this handsome and diverting book set out with a broad question—What are young art photographers up to these days?—and with due allowance for the limitations of space, they largely succeed in answering it. Of course, it's impossible to know whether any of their 50 artists will become the next decade's Jeff Wall or Cindy Sherman, but the styles, methods and nationalities on offer give a good overview of the milieu from which such future greatness might emerge. A number of distinct trends are visible: the use of digital technologies is widespread, social comment is ironic and oblique, a distrust of beauty and landscape is omnipresent, and few of the photographers seem much concerned with such notions as Cartier-Bresson's "decisive moment," let alone Minor White's zone system. But even such highly conceptual work as Miklos Gaal's hallucinatory half-blurred images of distant swimmers and Mieke Van de Voort's photographs of the rooms left behind by people who have died alone pack real aesthetic and emotional punch. Dodging their way through a difficult terrain of influences and possibilities, the photographers in this book have found widely divergent but similarly provocative new ways of depicting the world. (Apr.)
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