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The Original Copy ─ Photography of Sculpture, 1839 to Today
- ISBN13：9780870707575
- 出版社：Museum of Modern Art
- 作者：Roxana Marcoci; Geoffrey Batchen (CON); Tobia Bezzola (CON)
- 裝訂／頁數：平裝／256頁
- 規格：30.5cm*24.1cm*2.5cm (高/寬/厚)
- 出版日：2010/08/30
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In exploring the intersection between photography and sculpture, The Original Copy: Photography of Sculpture, 1839 to Today reveals how the one medium has been implicated in the analysis and creative redefinition of the other. When photography was introduced, in 1839, aesthetic experience was firmly rooted in Romanticist tenets of originality; in a radical way, the new invention brought into focus the critical role that the copy plays in art and in its perception. And even while the reproducibility of the photograph challenged the aura attributed to the original, it also reflected a very personal form of study and offered a model for dissemination that would transform the entire nature of art.
Sculpture was among the first subjects to be treated in photography. There were many reasons for this, including the desire to document, collect, publicize, and circulate objects that were not always portable. Through crop, focus, angle of view, degree of close-up, and lighting, as well as through ex post facto techniques of dark room manipulation, collage, montage, and assemblage, photographers have not only interpreted sculpture but created stunning reinventions of it.
Conceived by Roxana Marcoci, Curator at The Museum of Modern Art, The Original Copy is organized around ten conceptual modules and features more than 250 works by over 100 artists. Some, ranging from Eugene Atget and Walker Evans to David Goldblatt and Lee Friedlander, are best known as photographers; others, such as Auguste Rodin and Constantin Brancusi, are best known as sculptors; and others, ranging from Marcel Duchamp and Man Ray, Hannah Hoch and Claude Cahun, to contemporaries such as Fischli/Weiss, Bruce Nauman, and Rachel Harrison, are too various to categorize but exemplify how fruitfully and unpredictably photography and sculpture have combined.
Sculpture was among the first subjects to be treated in photography. There were many reasons for this, including the desire to document, collect, publicize, and circulate objects that were not always portable. Through crop, focus, angle of view, degree of close-up, and lighting, as well as through ex post facto techniques of dark room manipulation, collage, montage, and assemblage, photographers have not only interpreted sculpture but created stunning reinventions of it.
Conceived by Roxana Marcoci, Curator at The Museum of Modern Art, The Original Copy is organized around ten conceptual modules and features more than 250 works by over 100 artists. Some, ranging from Eugene Atget and Walker Evans to David Goldblatt and Lee Friedlander, are best known as photographers; others, such as Auguste Rodin and Constantin Brancusi, are best known as sculptors; and others, ranging from Marcel Duchamp and Man Ray, Hannah Hoch and Claude Cahun, to contemporaries such as Fischli/Weiss, Bruce Nauman, and Rachel Harrison, are too various to categorize but exemplify how fruitfully and unpredictably photography and sculpture have combined.
作者簡介
Roxana Marcoci is Curator in the Department of Photography, The Museum of Modern Art, New York.
Geoffrey Batchen is Professor of the History of Photography and Contemporary Art at The Graduate Center of The City University of New York.
Tobia Bezzola is Curator at the Kunsthaus Zurich.
Geoffrey Batchen is Professor of the History of Photography and Contemporary Art at The Graduate Center of The City University of New York.
Tobia Bezzola is Curator at the Kunsthaus Zurich.
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