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Why Photography Matters as Art as Never Before: Fried, …
- https://www.amazon.com/Why-Photography-Matters-Never-Before/dp/0300136846
- Enhance your purchase. A renowned critic and historian offers a radically new account of the meaning of ambitious art photography since the Bechers. From the late 1970s onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship …
Why Photography Matters as Art as Never Before by …
- https://www.goodreads.com/book/show/6016784-why-photography-matters-as-art-as-never-before
- Why Photography Matters as Art as Never Before. by. Michael Fried. 3.83 · Rating details · 88 ratings · 5 reviews. From the late 1970s onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship between the photograph …
Why Photography Matters as Art as Never Before: …
- https://www.amazon.com/Why-Photography-Matters-Never-Before/dp/B002A7M07M
- Why Photography Matters as Art as Never Before [Michael Fried] on Amazon.com. *FREE* shipping on qualifying offers. Why Photography Matters as Art as Never Before
Why Photography Matters as Art as Never Before
- https://books.google.com/books/about/Why_Photography_Matters_as_Art_as_Never.html?id=e8_SPQAACAAJ
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Why Photography Matters as Art as Never Before | Frieze
- https://www.frieze.com/article/why-photography-matters-art-never
- Michael Fried (Yale University Press, New Haven and London, 2008) In the last few years the large-scale photography made since the late 1970s has assumed a prominent position in contemporary art, acknowledged by grand exhibitions, extensive critical writing and a clearly established canon. This maturity is cemented by Michael Fried’s new book, which examines …
Why Photography Matters as Art as Never Before by …
- https://www.barnesandnoble.com/w/why-photography-matters-as-art-as-never-before-michael-fried/1009289192
- From the late 1970s onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship between the photograph and the viewer standing before it that until then had been the province only of painting.
(PDF) Why Photography Matters as Art as Never Before …
- https://www.researchgate.net/publication/228035363_Why_Photography_Matters_as_Art_as_Never_Before_by_Michael_Fried_and_The_Civil_Contract_of_Photography_by_Ariella_Azoulay
- An Aperture Monograph Aperture, 1972), 1; quoted in Fried, Why Photography Matters, 208. 7 Ariella Azoulay, The Civil Contract of Photography, 18. All subsequent references to this text will ...
Why Photography Matters as Art as Never Before
- http://www.caareviews.org/reviews/1274
- In Why Photography Matters, however, Fried demonstrates that antitheatrical concerns did not actually disappear for long, although when they reemerged they had shifted media. Beginning in the late 1970s, antitheatricality was increasingly taken up by advanced art photography, while, at the same time, Fried himself developed arguments about the centrality …
Robin Kelsey on Michael Fried’s Why Photography Matters
- https://www.artforum.com/print/200901/michael-fried-s-why-photography-matters-21710
- WHY PHOTOGRAPHY MATTERS AS ART AS NEVER BEFORE, BY MICHAEL FRIED. NEW HAVEN, CT: YALE UNIVERSITY PRESS, 2008. 410 PAGES. $55. IN THE INTRODUCTION TO HIS LATEST BOOK, Michael Fried bemoans the “facile criticism” that he is “excessively preoccupied” with his own ideas. The proper test, he suggests, is not the frequency with which he has deployed …
Review of Michael Fried, Why Photography Matters as Art …
- https://www.academia.edu/2561167/Review_of_Michael_Fried_Why_Photography_Matters_as_Art_as_Never_Before_in_Tate_Etc_no_14_Autumn_2008
- Fried’s new book, with its focus upon contemporary photography, might be considered an exile’s return to the practice of art criticism from the discipline of art history; but Fried dispels such a view by newly acknowledging an intertwining between his art criticism and art history. Fried’s basic premise here is that contemporary photography—e.g., Jeff Wall, Thomas Struth, Thomas …
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