And of course the implications for my own work. Not surprising for me there are photographers whose work I identify with and whom I thought were doing some interesting work that inspired some of my own urban landscape photographs. I appreciate that Szarkowski does state that photographers can not be categorized as purely one or the other and that you can find aspects of both in the many photographers work. Update: which I did, the review is here. The text is entirely by Szarkowski and he makes it clear early on that this book and exhibit was focused on photography from to

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In John Szarkowski curated Mirrors and Windows: American Photography since at the Museum of Modern Art; in the same year the exhibition catalogue was published as a book of the same name 1. Minor White, who was to edit Aperture Magazine for twenty years, was interested in Eastern philosophy and according to Sabina Jaskot-Gill 3 — p. Sun in Rock is typical of his approach where he cropped the subject to detach it from the wider landscape, distilling it to an abstract form.

It is straight documentary of the most descriptive kind, without comment or naive judgement, just a factual depiction of a people transitioning from the constraints of their shared history to the liberalisation of the sixties and beyond. Szarkowski himself is one of the great influencers of photography and played a significant, if not primary role, in moving the market for the professional photographer from publications to the gallery.

Eggleston was, at the time, even less well known that Arbus, Friedlander or Winogrand had been in and had the audacity to photograph banal subjects in colour in a way that challenged the established view of what constituted art photography. It is not an especially complex theory. A photograph that might be called a mirror will tend towards being subjective as opposed to a window being objective, reflective as opposed to a direct view, expressive rather than documentary and potentially manipulated instead of being straight.

We can look to a window to impart information and a mirror to communicate abstractions. It is perhaps too easy to categorise the mirrors as conceptual but that is my overriding impression. Critics tend to describe his work as metaphorical, and no doubt it is, but like much of surreal art in any medium the code to translate the metaphors can be elusive to the untrained eye. It is inventive, creative, technically highly accomplished, visually arresting and saleable.

There is no particular conclusion to be drawn from such a superficial piece of research but there is a suggestion that conceptual photography is a far harder arena in which to win lasting recognition unless we see their legacy in terms of the constructed realities of Cindy Sherman, Jeff Wall or Andreas Gursky. London: Thames and Hudson. You are commenting using your WordPress.

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Notify me of new comments via email. Notify me of new posts via email. But, since no one was listening, everything must be said again. This helps you remember what happened today, which will be far more remarkable in the light of memory. Steve Middlehurst Identity and Place. Skip to content. Sun in Rock — Minor White Untitled — Jerry Uelsmann Share this: Twitter Facebook.

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Mirrors and Windows: American Photography Since 1960.

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Home About Contribute. Mirrors or windows? Take a look at the images below. Think about whether, in your opinion, they are mirrors or windows.


Press Preview This article is a press release prior to the open of a photography exhibition at the Museum of Modern Art in New York curated by John Szarkowski. The exhibition was designed to show the significant changes in photography in the United States and gave a new theoretical framework for contemporary photography. Photography began to demonstrate personal concerns rather than being a medium for social or aesthetic progress. Stockdale, D. Windows and Mirrors by John Szarkowski.

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