Description:
Editorial Reviews
Review
"Presented thematically, with succinct texts that are both readable and informative, the book meets both academic and general needs, without ever compromising the images in display."―Pictured
"Imagine the best group show of photographers you've ever seen. Now imagine it's a book. Campany skillfully curates the leading lights of post-1960 into a thematically arranged form with tempting essays by Barthes and Baudrillard into the bargain. It's a timely survey that aspires to be the document of record for the most exciting, universal and accessible art form we've got."―i-D
"Art and Photography... charts the acceptance of photography as an art form. Originally considered a mechanical process, photography is now one of the most widely practiced arts. Exploring developments from the Sixties to the present day, this beautiful book covers every major school, style and name, and includes work by the likes of Jeff Wall, Andreas Gursky and Gillian Wearing. The perfect family album."―Vogue
"Phaidon's Themes and Movements series seeks to provide the late 20th-century art history books of the future."―Art Monthly
About the Author
David Campany is a writer and artist, and Reader in Photography at the University of Westminster, London. He was co-founder of the organization Photoforum, which brings together theorists and practitioners working in the photographic arts. His published work includes essays in Rewriting Conceptual Art, ed. Jon Bird and Michael Newman (Reaktion, 1999); Postcards on Photography: Photorealism and the Reproduction (Cambridge Darkroom, 1998); Cruel and Tender: the Real in the Twentieth Century Photograph (Tate, 2003) and Stillness and Time: Photography and the Moving Image (Photoforum/Photoworks, 2006). He is the editor of the anthology The Cinematic (Whitechapel/MIT Press, 2007) and the author of Photography and Film (Reaktion, 2007).
Reviews:
4.0 out of 5 stars Avant-Garde
Note: This is the same book issued by the publisher five years ago in a hard cover. The following is my review from that time.Notwithstanding the promise of its title, "Art in Photography" is simply a survey of avant-garde photography of the last half of the twentieth century.The book is divided into three parts: an essay by Campany, photographs and other works, and documents consisting of excerpts of articles, interviews and statements. The essay is divided into sections with titles like "The Urban and the Everyday" with similar sections of the photographs and documents. Each essay section makes a few general comments about the new in photography and then discusses in a sentence or two the particular photographers whose works appear among the photographs.The essay's principal thesis is that while other plastic arts moved away from content toward form in modern times, photography has generally moved away from form to content. At the same time, the goal of either set of movements was always self-referential, although it seemed as if photographers were deliberately subverting the form to show its inadequacies. (The author ignores the main stream of photography during that same period, when there were many portrait, fashion and landscape photographers who clung splendidly to the combination of form and content, using form to explicate the content.)The essay is often supported by thumbnails an inch and three-quarters high, but it is difficult to see much at this small size, and the reader may be further confounded in the effort to relate the picture to the text by the fact that the captions for the thumbnails are printed vertically in small type, requiring one to rotate the book 90 degrees and then look closely to confirm the relationship of the picture to the text.The pictures themselves are difficult to understand out of the context of a particular photographer's work, although occasionally an image will arrest one's eye, like the photograph of a single woman's face turned toward the camera in a sea of black-cloaked praying Moslem women, or Chuck Close's painting of Philip Glass. For the most part the pictures, out of context, are enigmatic. Campany acknowledges that it is difficult to draw any consistent theory of photography from the pictures.The documents vary in interest from insightful articles to artistic double-speak. It pained me to see Walter Benjamin's seminal article "The Work of Art in the Age of Mechanical Reproduction" abridged to a short excerpt, but it does add the flavor of the work to some understanding of the pictures presented.Survey books are always difficult for me because they can never go into enough detail to comprehend larger movements. Still, for the individual interested in a collection of representative works of avant-garde photography, this book may fill the bill.
3.0 out of 5 stars I am very disappointed that this was not in the description
Please note that the "documents" section, that is over 70 pages long and is usually located at the back of the hardcover series, is missing from the paperback series. If you can afford it, get the hardcover, which also looks much nicer....the documents section often contains documents from history, manifestos, artists writing etc. on cream paper.... I am very disappointed that this was not in the description. Otherwise, if you are new to photography as an artistic practice, this is a great book. Its introduction is excellent for introductory students. For an introduction to photographic theories you should turn to a different book however. (such as "Photography" by David Bate or The Photoography Reader by Liz Wells). This book contains large reproductions in colour. If you like someones work, look it up and find more online. I hope a new version of Vitamin PH comes out, as that was slightly better in terms of seeing peoples work in a more comprehensive way.
Most inspiring introduction to contemporary art in photography
I do recommend this book to everyone interested in contemporary photography art. It contains only most prominent classic examples, and makes you love it. I can compare the choice of body of work with Charlotte Cotton's book, and this one wins hands down.
Five Stars
Very good book.
Art babble accompanied by mediocre photographs
This book is just another ART book that blathers on in incomprehensible statements about I don't know what. The photographs - the biggest disapointment - are certainly not indicative of the real art of photography. The cover shot is the best one in the book.
Essential
Excellent volume with a comprehensive and clearly written essay at the beginning.
Not quite what I was expecting
I have several of these 'Themes & Movements' books from Phaidon, as a student I found the collection of texts missing from this edition useful and interesting. Maybe the photography book never had the documentation the Conceptual Art, Minimalism, Arte Povera and Feminism ones did ... which would explain why it is so much cheaper. as a large format paperback the reporductions are easily clear enough to demonstrate the point of the photographs and the captions have worthwhile content, though the description of Jeff Wall's 'The Destroyed Room' fails to mention the allusions highlighted in the current 'Seduced by Art' exhibition at the National Gallery.Useful to stimulate interest and identify works and photographers
Visit the Phaidon Press Store
Art and Photography
AED19790
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Imported From: United States
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Visit the Phaidon Press Store
Art and Photography
AED19790
Quantity:
Order today to get by 7-14 business days
Delivery fee of AED 20. Free for orders above AED 200.
Imported From: United States
At BOLO, we work hard to ensure the products you receive are new, genuine, and sourced from reputable suppliers.
BOLO is not an authorized or official retailer for most brands, nor are we affiliated with manufacturers unless specifically stated on a product page. Instead, we source verified sellers, authorized distributors or directly from the manufacturer.
Each product undergoes thorough inspection and verification at our consolidation and fulfilment centers to ensure it meets our strict authenticity and quality standards before being shipped and delivered to you.
If you ever have concerns regarding the authenticity of a product purchased from us, please contact Bolo Support. We will review your inquiry promptly and, if necessary, provide documentation verifying authenticity or offer a suitable resolution.
Your trust is our top priority, and we are committed to maintaining transparency and integrity in every transaction.
All product information, images, descriptions, and reviews originate from the manufacturer or from trusted sellers overseas. BOLO is not affiliated with, endorsed by, or an authorized retailer for most brands listed on our website unless stated otherwise.
While we strive to display accurate information, variations in packaging, labeling, instructions, or formulation may occasionally occur due to regional differences or supplier updates. For detailed or manufacturer-specific information, please contact the brand directly or reach out to BOLO Support for assistance.
Unless otherwise stated, all prices displayed on the product page include applicable taxes and import duties.
BOLO operates in accordance with the laws and regulations of United Arab Emirates. Any items found to be restricted or prohibited for sale within the UAE will be cancelled prior to shipment. We take proactive measures to ensure that only products permitted for sale in United Arab Emirates are listed on our website.
All items are shipped by air, and any products classified as “Dangerous Goods (DG)” under IATA regulations will be removed from the order and cancelled.
All orders are processed manually, and we make every effort to process them promptly once confirmed. Products cancelled due to the above reasons will be permanently removed from listings across the website.
Description:
Editorial Reviews
Review
"Presented thematically, with succinct texts that are both readable and informative, the book meets both academic and general needs, without ever compromising the images in display."―Pictured
"Imagine the best group show of photographers you've ever seen. Now imagine it's a book. Campany skillfully curates the leading lights of post-1960 into a thematically arranged form with tempting essays by Barthes and Baudrillard into the bargain. It's a timely survey that aspires to be the document of record for the most exciting, universal and accessible art form we've got."―i-D
"Art and Photography... charts the acceptance of photography as an art form. Originally considered a mechanical process, photography is now one of the most widely practiced arts. Exploring developments from the Sixties to the present day, this beautiful book covers every major school, style and name, and includes work by the likes of Jeff Wall, Andreas Gursky and Gillian Wearing. The perfect family album."―Vogue
"Phaidon's Themes and Movements series seeks to provide the late 20th-century art history books of the future."―Art Monthly
About the Author
David Campany is a writer and artist, and Reader in Photography at the University of Westminster, London. He was co-founder of the organization Photoforum, which brings together theorists and practitioners working in the photographic arts. His published work includes essays in Rewriting Conceptual Art, ed. Jon Bird and Michael Newman (Reaktion, 1999); Postcards on Photography: Photorealism and the Reproduction (Cambridge Darkroom, 1998); Cruel and Tender: the Real in the Twentieth Century Photograph (Tate, 2003) and Stillness and Time: Photography and the Moving Image (Photoforum/Photoworks, 2006). He is the editor of the anthology The Cinematic (Whitechapel/MIT Press, 2007) and the author of Photography and Film (Reaktion, 2007).
Reviews:
4.0 out of 5 stars Avant-Garde
Note: This is the same book issued by the publisher five years ago in a hard cover. The following is my review from that time.Notwithstanding the promise of its title, "Art in Photography" is simply a survey of avant-garde photography of the last half of the twentieth century.The book is divided into three parts: an essay by Campany, photographs and other works, and documents consisting of excerpts of articles, interviews and statements. The essay is divided into sections with titles like "The Urban and the Everyday" with similar sections of the photographs and documents. Each essay section makes a few general comments about the new in photography and then discusses in a sentence or two the particular photographers whose works appear among the photographs.The essay's principal thesis is that while other plastic arts moved away from content toward form in modern times, photography has generally moved away from form to content. At the same time, the goal of either set of movements was always self-referential, although it seemed as if photographers were deliberately subverting the form to show its inadequacies. (The author ignores the main stream of photography during that same period, when there were many portrait, fashion and landscape photographers who clung splendidly to the combination of form and content, using form to explicate the content.)The essay is often supported by thumbnails an inch and three-quarters high, but it is difficult to see much at this small size, and the reader may be further confounded in the effort to relate the picture to the text by the fact that the captions for the thumbnails are printed vertically in small type, requiring one to rotate the book 90 degrees and then look closely to confirm the relationship of the picture to the text.The pictures themselves are difficult to understand out of the context of a particular photographer's work, although occasionally an image will arrest one's eye, like the photograph of a single woman's face turned toward the camera in a sea of black-cloaked praying Moslem women, or Chuck Close's painting of Philip Glass. For the most part the pictures, out of context, are enigmatic. Campany acknowledges that it is difficult to draw any consistent theory of photography from the pictures.The documents vary in interest from insightful articles to artistic double-speak. It pained me to see Walter Benjamin's seminal article "The Work of Art in the Age of Mechanical Reproduction" abridged to a short excerpt, but it does add the flavor of the work to some understanding of the pictures presented.Survey books are always difficult for me because they can never go into enough detail to comprehend larger movements. Still, for the individual interested in a collection of representative works of avant-garde photography, this book may fill the bill.
3.0 out of 5 stars I am very disappointed that this was not in the description
Please note that the "documents" section, that is over 70 pages long and is usually located at the back of the hardcover series, is missing from the paperback series. If you can afford it, get the hardcover, which also looks much nicer....the documents section often contains documents from history, manifestos, artists writing etc. on cream paper.... I am very disappointed that this was not in the description. Otherwise, if you are new to photography as an artistic practice, this is a great book. Its introduction is excellent for introductory students. For an introduction to photographic theories you should turn to a different book however. (such as "Photography" by David Bate or The Photoography Reader by Liz Wells). This book contains large reproductions in colour. If you like someones work, look it up and find more online. I hope a new version of Vitamin PH comes out, as that was slightly better in terms of seeing peoples work in a more comprehensive way.
Most inspiring introduction to contemporary art in photography
I do recommend this book to everyone interested in contemporary photography art. It contains only most prominent classic examples, and makes you love it. I can compare the choice of body of work with Charlotte Cotton's book, and this one wins hands down.
Five Stars
Very good book.
Art babble accompanied by mediocre photographs
This book is just another ART book that blathers on in incomprehensible statements about I don't know what. The photographs - the biggest disapointment - are certainly not indicative of the real art of photography. The cover shot is the best one in the book.
Essential
Excellent volume with a comprehensive and clearly written essay at the beginning.
Not quite what I was expecting
I have several of these 'Themes & Movements' books from Phaidon, as a student I found the collection of texts missing from this edition useful and interesting. Maybe the photography book never had the documentation the Conceptual Art, Minimalism, Arte Povera and Feminism ones did ... which would explain why it is so much cheaper. as a large format paperback the reporductions are easily clear enough to demonstrate the point of the photographs and the captions have worthwhile content, though the description of Jeff Wall's 'The Destroyed Room' fails to mention the allusions highlighted in the current 'Seduced by Art' exhibition at the National Gallery.Useful to stimulate interest and identify works and photographers
Similar suggestions by Bolo
More from this brand
Similar items from “History”
Share with
Or share with link
https://www.bolo.ae/products/U0714863920