Jeff Wall Works And Collected Writings
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Jeff Wall
Jeff Wall s large-scale Cibachrome tranparencies mounted on light-boxes have exerted a profound influence over little short of the past three decades. His work also spans a time in which the way in which the relationship change. He is one of the last artists to work out his moves on the basis of a linear view of history and then to have a rethink the relationship of his work with art history in a world in which such a view of history was no longer tenable. His composition in both color and black-and-white maintain a constant dialogue with nineteenth-century genre painting and truly make him, in charles Baudelaire s expression, a painter of modern life. In addition to an in-depth essay by Michael Newman, this book reproduces the complete work of Jeff Wall to date and includes his main writings on the creative experience of other key contemporary artists. 134 illustrations
Jeff Wall and the Concept of the Picture
This book grapples with fundamental questions about the evolving nature of pictorial representation, and the role photography has played in this ongoing process. These issues are explored through a close analysis of key themes that underpin the photography practice of Canadian artist Jeff Wall and through examining important works that have defined his oeuvre. Wall’s strategic revival of ‘the picture’ has had a resounding influence on the development of contemporary art photography, by expanding the conceptual and technical frameworks of the medium and introducing a self-reflexive criticality. Naomi Merritt brings a new and original contribution to the scholarship on one of the most significant figures to have shaped the course of contemporary art photography since the 1970s and shines a light on the multilayered connections between photography and art. This book will be of interest to scholars in the history of photography, art and visual culture, and contemporary art history.
Jeff Wall
Examining a work that marked the emergence of photography as an art made for the gallery wall instead of the printed page. Jeff Wall's Picture for Women (1979) marks the transition of photography as an art form from the printed page to the gallery wall. Before this, photographs—from the orthodox photographic work of Walker Evans to the Conceptual photography of Dan Graham—seemed intended for the page even when hung in a gallery. In Picture for Women, a woman looks outward, as if at the viewer; a camera occupies the center of the photograph; the photographer stands on the right. Modeled on Manet's famous painting Un bar aux Folies-Bergère, in which a barmaid seems to look directly out of the painting, observed by a man on the right, Picture for Women establishes its own art historical genealogy, claiming its rightful position within the canon. Wall's photograph is an ambitious attempt to relate the artistic and spectatorial demands of the late 1970s to a modernist pictorial art that had been too hastily rejected by Conceptualism. In this illustrated study, David Campany offers an account of Wall's move from a Conceptual approach to a reengagement with the idea of a singular (as opposed to serial) picture. He shows that Wall's decision to present his work as a large-scale back-lit transparency, together with his commitment to a singular image, amounted to a radical departure. He contrasts Wall's idea of the photograph as a tableau or “picture,” inherited from the history of painting, with the works of the “Pictures Generation” - including Richard Prince, Cindy Sherman, and Jack Goldstein—and argues that Picture for Women is inseparable from the modern fate of the picture in general