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Contributions by Thomas Weski. Text by Heinz Liesbrock.
- Sales Rank: #2088924 in Books
- Published on: 2000-08-29
- Released on: 2000-07-02
- Original language: English
- Number of items: 1
- Dimensions: 1.95" h x 9.01" w x 10.39" l,
- Binding: Hardcover
- 544 pages
Amazon.com Review
How You Look at It is the catalog of a major photographic exhibition organized by the Sprengel Museum in Hanover, Germany. Its thesis--that photography is the defining art of the 20th century--is straightforward, but its organization is unusual. Rather than a chronological survey of iconic images, the book presents only 40 photographers, from the pioneering Frenchman Atget to postwar Americans and modern German masters like Thomas Struth and Andreas Gursky. This enables the chosen artists to be shown in depth, though the criteria for their being chosen are not clear to this reviewer. Exposure to European material will benefit the American audience to whom this English-language edition of the book is directed, but it is unfortunate that, apart from Tomatsu Shomei, no non-Western photographer is included. Just as it took Robert Frank, a Swiss, to shock the art establishment in 1959 with the raw images of his collection The Americans, Americans today can learn from the formal explorations of their transatlantic counterparts. Examples of non-photographic artworks are sprinkled through the book--a Picasso portrait, for example, or a David Hockney cityscape--giving context to the photographs. The thoughtful text consists of essays by the two curators of the show and three other critics who analyze the current theoretical underpinnings of photography. This is not easy reading; the translations successfully preserve the denseness of the original German. The 500 images, however, speak for themselves, making How You Look at It valuable material for anyone interested in photography and its relations to contemporary cultural issues. --John Stevenson
From Library Journal
This book accompanies a 2000 exhibit of the same name, jointly sponsored by the Sprengel Museum Hannover and the St delsches Kunstinstitute and St dische Galerie, Frankfurt am Main, Germany. The editors have put together a large group of pictures to support their assertion that photography is the definitive art form of the 20th century, one that has had a profound effect on the way we see the world, the process by which artists create images, and the course of world events. This is not a survey of 20th-century photography, so many of which were published last year. Rather, by carefully sequencing and juxtaposing photographs and other works of art (paintings, sculpture), the editors establish a kind of dialog that reveals common messages by two or more artists. These groupings work most of the time, though sometimes the nonphotographic comparisons are puzzling at best. The essays are academic in the worst sense but may have suffered from bad translations. One of the most valuable parts of the book is the end matter, which provides biographies, exhibitions, bibliographies of artists in the book, along with full information on each work reproduced (or exhibited). For academic and large public library art and photohistory collections.DKathleen Collins, Bank of America Corporate Archives, San Francisco
Copyright 2001 Reed Business Information, Inc.
Review
...highlights many of the big guns of photography-Walker Evans, William Eggleston and Eugene Atget-in a refreshingly different way. -- Playboy, December 2000
A panoramic view of 20th century photography presenting entire bodies of work that are arranged thematically rather than chronologically. -- DKNY, Fall 2000
Beyond the organizational trope, this coffee-table book with substance also serves quite nicely as a collection of really great pictures. -- The San Francisco Bay Guardian, December 2000
For Snap-Happy People. A photography-fan’s must-have. -- Andy Warhol’s Interview, December 2000
The best part: Instead of boiling an artist down to one image [it] gives us a sampling from each photographer. -- Jane Magazine, October 2000, Lesley Meyer
The…essays…discuss the technical, historical, and social backgrounds of…photography as well as…ties to more traditional painting and sculpture. -Ingrid Eberly -- Nylon, October 2000
… exposes unexpected connections and threads in what is arguably one of the definitive art forms of the last century. -- IKEA space Magazine, September 2000
…a smartly conceived ramble over the lenscape of 20th-century photography. -- W Magazine, December 2000
…an intelligent survey of the history of the photographic medium and its uses and variations during its relatively young life. -- DoubleTake, Winter 2001
“How you look at it” effortlessly spans the century, reaching a crescendo with its final image… -- Flaunt, October 2000
Most helpful customer reviews
2 of 2 people found the following review helpful.
How you look at it isn't always how you see it at first
By Robin
The book's sub-deck makes rather a bold claim: Photographs of the twentieth century. I think it comes off because the 404 photos (104 in color) take a different perspective from the usual historical survey. Here the thirty-seven photographers are grouped according to theme chapters and each also includes an artist. Why Charles Sheeler, Franz Kline, Bernd and Hilla Becher, Karl Blossfeldt, Odilon and Ellsworth Kelly are all included in one theme is not immediately obvious but this is why the book is so thought provoking.
I'm not entirely convinced, though that the artist additions were really needed. The medium of photography, least looking through the photos here, is wide ranging enough without the added extra of painting and sculpture Thomas Weski, one of the book's editors makes an interesting point in his essay: 'Because pictures like those of Walker Evans do not function as attractive in the first instance, but require viewers to work at understanding them, they reverberate longer and effect enduring changes in our perception of the world'. The five essays (over the first 111pages) are the predictable mixed bag. I thought those by Weski and Gerry Badger the most informative. One by Peter Waterhouse: 'The roads' seemed rather out of place, more a stream-of-consciousness meander about personal transport with the first paragraph stretching over almost four pages.
It's the photos that count of course and I thought the selection particularly impressive. The photographers are well known, mostly American but several Germans as well because the book was based on an exhibition in Germany during 2000. Excellent production using a 200 screen on matt art paper. The back pages have biographies and an exhibition listing.
I've always thought this was an unusual book because of its fresh visual approach to photography.
8 of 13 people found the following review helpful.
I've bought this book for everyone I'd like to impress.
By A Customer
This book is focused. The best part about it is that it features photographers who are lesser known. The collection of photagraphs have a genuine fresh and modern appeal making this a coffe table book that you will more than once peruse. It is a gem, a truly splendid thing to own.
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