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The Original Copy
"Published in conjunction with the exhibition The original copy: photography of sculpture, 1839 to today, at the Museum of Modern Art, New York (August 1-November 1, 2010)"--T.p. verso.
Max Ernst
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Photography and Sculpture
Ever since the mid-nineteenth century, when the new medium of photography was pressed into service to illustrate sculpture, photographs of sculptural objects have directed viewers as to what, in the course of ambling around a sculpture, was the single perfect moment to stop and look. What is the photograph’s place in writing the history of sculpture? How has it changed according to culture, generation, criti-cal conviction, and changes in media? Photography and Sculpture: The Art Object in Reproduction studies aspects of these questions from the perspectives of sixteen leading art historians. Their essays consider iconic photographs, archival collections, new and forgotten technologies, and conceptual challenges in photographing three-dimensional forms that have directed changing historical and stylistic attitudes about how we see, write about, and narrate histories of sculpture. Chapters on such varied topics as picturing Conceptual art, manipulating sacred images in India to be non-photographs, and framing Roman art with an iPad illustrate the latent visual and narrative powers and ever-expanding potential of these images of sculpture.
Author Catalog
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Capturing the German Eye
Shedding new light on the American campaign to democratize Western Germany after World War II, Capturing the German Eye uncovers the importance of cultural policy and visual propaganda to the U.S. occupation. Cora Sol Goldstein skillfully evokes Germany’s political climate between 1945 and 1949, adding an unexpected dimension to the confrontation between the United States and the USSR. During this period, the American occupiers actively vied with their Soviet counterparts for control of Germany’s visual culture, deploying film, photography, and the fine arts while censoring images that contradicted their political messages. Goldstein reveals how this U.S. cultural policy in Germany was shaped by three major factors: competition with the USSR, fear of alienating German citizens, and American domestic politics. Explaining how the Americans used images to discredit the Nazis and, later, the Communists, she illuminates the instrumental role of visual culture in the struggle to capture German hearts and minds at the advent of the cold war.
Constable's Hand Atlas of India
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
