Photography After Conceptual Art presents a series of original essays that address substantive theoretical, historical, and aesthetic issues raised by post-1960s photography as a mainstream artistic medium Appeals to people interested in artist's use of photography and in contemporary art Tracks the efflorescence of photography as one of the most important mediums for contemporary art Explores the relation between recent art, theory and aesthetics, for which photography serves as an important test case Includes a number of the essays with previously unpublished photographs Artists discussed include Ed Ruscha, Bernd and Hilla Becher, Douglas Huebler, Mel Bochner, Sherrie Levine, Roni Horn, Thomas Demand, and Jeff Wall
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反權威、反美學標準、反公眾的纔能稱之為conceptual art,所以也就無所謂criticism,所以就要遠離medium。因此觀念攝影中的index隻有作者知道(我認為每個作品裏都會有所謂的綫索),或者它給齣的僅僅是思考和可能性。
评分反權威、反美學標準、反公眾的纔能稱之為conceptual art,所以也就無所謂criticism,所以就要遠離medium。因此觀念攝影中的index隻有作者知道(我認為每個作品裏都會有所謂的綫索),或者它給齣的僅僅是思考和可能性。
评分幸好沒有去年看 去年一定看不懂 >>>
评分反權威、反美學標準、反公眾的纔能稱之為conceptual art,所以也就無所謂criticism,所以就要遠離medium。因此觀念攝影中的index隻有作者知道(我認為每個作品裏都會有所謂的綫索),或者它給齣的僅僅是思考和可能性。
评分反權威、反美學標準、反公眾的纔能稱之為conceptual art,所以也就無所謂criticism,所以就要遠離medium。因此觀念攝影中的index隻有作者知道(我認為每個作品裏都會有所謂的綫索),或者它給齣的僅僅是思考和可能性。
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