- Hardcover: 352 pages
- Publisher: Phaidon Press Ltd (20 Oct 2006)
- Language English
- ISBN-10: 0714846562
- ISBN-13: 978-0714846569
- Product Dimensions: 29.6 x 25.6 x 3.4 cm
- Amazon Bestsellers Rank: 497,490 in Books (See Top 100 in Books)
- See Complete Table of Contents
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Product Description
Product Description
"Vitamin Ph" provides a third dose of visual stimulation and vital information, following on from the successes of "Vitamin P" and "Vitamin D". Similar in concept, scope and structure, "Vitamin Ph" presents, in A to Z order, the work of 122 international artists. This up-to-the-minute survey focuses on global developments in art photography and the use of the medium by contemporary artists. 78 nominators worldwide have identified living artists who have made a fresh and innovative contribution to recent international photography. All works reproduced in the book use photography as their primary medium or source material, whether or not they then develop into or merge with other media. Extending beyond the parameters of straight photography to encompass sculptural, painterly and filmic elements, "Vitamin Ph" explores the medium in an expanded sense. The artists represented have emerged, or re-emerged, in the last five years to create a distinctive body of new work. "Vitamin Ph" aims to contribute to international debates on contemporary photography whilst providing an accessible overview and concise reference book.
About the Author
T.J. Demos is Lecturer in the Department of History of Art, University College London. A member of Art Journal's editorial board, he writes widely on modern and contemporary art.
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4 reviews
10 of 10 people found the following review helpful
An overview of photography
11 July 2007
Format:Hardcover
It's big, it's well produced and it's a worthy addition to a photo book collection. Phaidon is a great publisher and the production values of this book are up to their usual high standards. The concept of "New Perspectives in Photography" is an ambitious topic, given the broad variety of art photography practice around the world. If you could sum up the main trend, it would have to be the movement away from the photo document and towards a conceptual exploration of the photographic object as it relates to the human experience. It is not photography, it is photographic.
Much of the work is relatively new, made in the past ten years and is representative of that shown by a certain kind of photography gallery -- one looking forward, yet rooted in the past. That said, much of the work references earlier photographs. Artists such as Gregory Crewdson and Anne Hardy create narrative, staged environments that the photograph documents, yet they look back to work from the 80's by Sandy Skoglund. Nikki Lee's work with her personal identity clearly references earlier work by Cindy Sherman. Tim Lee uses the photograph as a document of his conceptual work, a traditional way to preserve performance and conceptual art. However, there are some valuable new perspectives.
Rinko Kawauchi's beautiful photographs of life's ephemeral moments indeed provide a new, thoughtful perspective -- her book "the eyes, the ears" is worth searching out (sorry, not available on Amazon, I found my copy in Tokyo). Esteban Pastorino Diaz challenges our understanding of visual devices and the way they form our perspective of the world. And Paul Pfeiffer uses a database filtering model to create meaning from a photographic practice based on images appropriated from popular media. Clearly, innovation is limited only by the imagination.
The challenge with this type of overview is that it is almost too wide ranging and lacks depth -- it is without a singular point of view. It mostly covers artists who are already "established" in the gallery and museum circuit, which means you will be about five years behind the state of the art. The latest, newest work is found on the Internet, but only to those with the time, desire and domain knowledge to seek it out.
While you may pick it up once or twice, it is most valuable as a point of departure for further exploration of individual artists. As the other reviewers from New Zealand mentioned, it will probably be most valuable to readers without access to contemporary art galleries.
Much of the work is relatively new, made in the past ten years and is representative of that shown by a certain kind of photography gallery -- one looking forward, yet rooted in the past. That said, much of the work references earlier photographs. Artists such as Gregory Crewdson and Anne Hardy create narrative, staged environments that the photograph documents, yet they look back to work from the 80's by Sandy Skoglund. Nikki Lee's work with her personal identity clearly references earlier work by Cindy Sherman. Tim Lee uses the photograph as a document of his conceptual work, a traditional way to preserve performance and conceptual art. However, there are some valuable new perspectives.
Rinko Kawauchi's beautiful photographs of life's ephemeral moments indeed provide a new, thoughtful perspective -- her book "the eyes, the ears" is worth searching out (sorry, not available on Amazon, I found my copy in Tokyo). Esteban Pastorino Diaz challenges our understanding of visual devices and the way they form our perspective of the world. And Paul Pfeiffer uses a database filtering model to create meaning from a photographic practice based on images appropriated from popular media. Clearly, innovation is limited only by the imagination.
The challenge with this type of overview is that it is almost too wide ranging and lacks depth -- it is without a singular point of view. It mostly covers artists who are already "established" in the gallery and museum circuit, which means you will be about five years behind the state of the art. The latest, newest work is found on the Internet, but only to those with the time, desire and domain knowledge to seek it out.
While you may pick it up once or twice, it is most valuable as a point of departure for further exploration of individual artists. As the other reviewers from New Zealand mentioned, it will probably be most valuable to readers without access to contemporary art galleries.
6 of 6 people found the following review helpful
A great glimpse at contemporary photography
1 April 2007
Format:Hardcover
This book provides a short sample of each artists work along with an explanation about the artist or the works.
It is fantastic as a student tool to have such a range of works at your fingertips. It is also great for those just looking as the content is broad and dynamic.
I have yet to come across a book that has such a large number of contemporary photographers along with a range of their work (rather than a single iimage job).
It is fantastic as a student tool to have such a range of works at your fingertips. It is also great for those just looking as the content is broad and dynamic.
I have yet to come across a book that has such a large number of contemporary photographers along with a range of their work (rather than a single iimage job).
4 of 4 people found the following review helpful
An impeccably-made survey of contemporary photography.
31 Aug 2007
Format:Hardcover
This is a wonderful book. I bought it truly as a "vitamin", to give myself a kick in the pants regarding my own photography: to find some sources of inspiration that were more up-to-date than my usual heroes (Minor White, Cartier-Bresson, etc). It served that purpose admirably. The artists and photographs are carefully chosen, and the essays are well-written. Some of the essays are even in English rather than art-speak. There is an incredible range of styles represented here, encompassing both conceptually-driven and aesthetically-driven art. Because of the large size and beautiful paper and production, this book is a tactile and visual treat that would make a great gift for any photographer on one's holiday list.
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