First edition, 2002, first printing. Near Fine paperback with French flaps with a touch of soiling and rubbing to the bottom edges; appears to be unread. BOOKS SHIP THE NEXT BUSINESS DAY, WRAPPED IN PADDING, IN A BOX. The catalogue for an exhibition examining the effect photography and painting have had one another with works by Amy Adler, Bernd & Hilla Becher, Rineke Dijkstra, Gilbert & George, Andreas Gursky, Amedeo Martegani, Elizabeth Peyton, Sigmar Polke, Gerhard Richter, Cindy Sherman, Thomas Struth, Jeff Wall, and others. Essays by Marco Franciolli, Elio Grazioli, and Elio Schenini. 184 pages; 74 color and duo-toned b&w plates + 30 text illustrations; 9.75 x 11 inches. List of works, biographies of artists in the exhibition, bibliography. Text in English and Italian. Due to size and weight, international and expedited shipping will be more than quoted.

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Bibliographic Details

Title

The Image Regained: Painting and Photography from the Eighties to Today / L'immagine Ritrovata

Publisher

Hatje Cantz, Ostfildern-Ruit

Publication Date

2002

Language

English

ISBN 10

3775712682

ISBN 13

9783775712682

Binding

Paperback

Edition

1st Edition

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About this title

Synopsis

Some people once boldly predicted that photography would displace painting altogether. Others asked whether a photograph could be art in the first place. As it turned out, these two forms of expression have had a stimulating effect on one another during their long years of coexistence. The Image Regained illustrates, with works by outstanding contemporary artists and photographers, the intensity and consequences of this exchange over the past twenty years. Work by Amy Adler, Bernd & Hilla Becher, Rineke Dijkstra, Gilbert & George, Andreas Gursky, Amedeo Martegani, Elizabeth Peyton, Sigmar Polke, Gerhard Richter, Cindy Sherman, Thomas Struth, Jeff Wall, and others reveals that, more frequently than not, the encounter between painting and photography has rocked our very understanding of the image. Painting, under the influence of photography, is now finding its way back from the abstract to the figurative, whereas photography, in the 80s, claimed for itself the traditional painterly themes of portraiture and landscape. The breaking with conventional modes of perception has by now become programmatic. Paintings, for instance, now explore the properties of photography--the effects of light and shadow as well as blurred outlines for simulating different foci--and are hung next to photographs that suggest a painterly mode of creation. As varied as the artistic directions documented here may be, one commitment remains common: the endeavour to look long and close at our world, and to make the viewer stop and think.

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