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Photography's Antiquarian Avant-Garde: The New Wave in Old Processes

Rexer, Lyle

18 ratings by Goodreads
ISBN 10: 0810904020 / ISBN 13: 9780810904026
Published by Abrams, 2002
From ANARTIST (New York, NY, U.S.A.)

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Hardcover with dustjacket; 160 pages; very good condition; light rubbing to dj; no internal marks. Foreign shipping may be extra. Bookseller Inventory # PhReAb200

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Bibliographic Details

Title: Photography's Antiquarian Avant-Garde: The ...

Publisher: Abrams

Publication Date: 2002

About this title


Photography's Antiquarian Avant-Garde charts the full-blown rebellion of contemporary photographers against the advent of digital photography and their reversion to photographic methods used in the nineteenth century. These photographers seek to reengage the physical facts of photography, its material and processes, by turning to the history of photography for metaphors, technical information, and visual inspiration. The artists in this volume are from all over the world and use a wide array of photographic processes. Among the artists and processes featured are Chuck Close's daguerreotypes, Sally Mann's collodion prints, Jayne Hinds Bidaut's photogram tintypes, Shirine Sharif's photograms, Gabor Kerekes's carbon dichromates, and Laurent Millet's toned silver prints. For these artists, these steps into the past are a way to reimagine and redirect not only the photographic object, but also the act of photography itself.

From Library Journal:

Some fear that the photographic community's widespread and controversial adoption of digital processes will lead to technical standardization and numbing artistic uniformity. Fortunately, whatever the future of photography, we can all be grateful for the artists, such as those covered in this book, who are investigating and exploiting its past. This is a stunning survey of current work by inventive artists employing pre-20th century means to address postmodern and contemporary issues and aesthetics. The 60 artists, including Sally Mann and Chuck Close, utilize an array of processes (e.g., wet-plate photography) and applications (e.g., emulsion on steel) to create images that are dependent on light and time and that, as Mann states, "cost you dearly in time and energy." The 120 images include luscious cyanotype prints on various materials, enduring daguerreotypes, dreamy ambrotype prints, and eerie tintypes. An informative and accessible text by photography writer Rexer gives historic and theoretical perspective, and the brief technical glossary serves as a primer for the novice. Highly recommended for large academic and public collections, this is also an affordable resource for smaller libraries.
Debora Miller, Minneapolis
Copyright 2002 Reed Business Information, Inc.

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