書名《攝影之后：拍照的藝術(shù)家》

出版日期2016年9月

原書名Post-photography:The artist with a camera 

開 本 16開

ISBN978-7-80501-934-5 

字?jǐn)?shù)434.8千字

作者[英]羅伯特·肖 著  張杰 譯

定價(jià)168.00元

作者簡(jiǎn)介

羅伯特·肖（Robert Shore），英國(guó)著名媒體人，主要從事文化和媒體領(lǐng)域的創(chuàng)作，長(zhǎng)期為英國(guó)《都市報(bào)》《衛(wèi)報(bào)》和《星期日泰晤士報(bào)》撰稿。同時(shí)，他還是《藝術(shù)評(píng)論》雜志的編輯。

編輯推薦

在這個(gè)人人都有一部智能手機(jī)的時(shí)代，人們按下快門，隨即就秀出照片。人人都有自己的社交網(wǎng)絡(luò)賬戶，可以將自己在這個(gè)世界上每一秒鐘的狀態(tài)都用相機(jī)記錄下來(lái)。“我思故我在”變成了“我記錄，故我存在”。如今攝影已經(jīng)是一種極為平民化的行為，“自拍”甚至成了2013年牛津詞典的年度熱詞。

瀏覽并創(chuàng)造性地將他人的圖像吸納至自己的作品中，如今這種實(shí)踐成為很多藝術(shù)攝影師的主要工作。由攝影記者轉(zhuǎn)型為藝術(shù)攝影家的沃爾夫曾說(shuō)：“我們的世界充滿圖像，這是未來(lái)影像中的一部分。我們必須得想辦法處理，對(duì)其去蕪存菁，或者將其吸收到我們的作品中。我認(rèn)為，未來(lái)我們很重要的一項(xiàng)任務(wù)就是對(duì)所有這些圖片進(jìn)行精挑細(xì)選。你能想象今天我們到底有多少圖像嗎？這個(gè)數(shù)字是不可估量的?！?/span>

“你不是在拍照片，你是在制作照片?！眰ゴ蟮拿绹?guó)風(fēng)景攝影師安塞爾·亞當(dāng)斯這樣說(shuō)道。這一提法在近二三十年內(nèi)日益得到肯定，雖然亞當(dāng)斯本人對(duì)此并沒(méi)有很明確的設(shè)想或?qū)嵺`。那么，我們?nèi)绾螛?gòu)建一個(gè)自己的天地并將它記錄下來(lái)呢？

在本書中，你將會(huì)認(rèn)識(shí)52位21世紀(jì)杰出的藝術(shù)攝影家，并學(xué)習(xí)到他們的創(chuàng)作觀念與技巧。書中所選的作品均立足于數(shù)字時(shí)代的前沿，具有很強(qiáng)的視覺(jué)沖擊力。相信跟隨著大師的腳步，你將會(huì)進(jìn)入一個(gè)精彩絕倫的藝術(shù)世界。歡迎來(lái)到后攝影時(shí)代。

內(nèi)容簡(jiǎn)介

美國(guó)視覺(jué)傳播學(xué)者米契爾(Walliam Mitchell)在1991年提出“后攝影時(shí)代”(Post-Photography)這一個(gè)名詞，用以形容攝影自從進(jìn)入了數(shù)碼時(shí)代后已出現(xiàn)了根本性的改變。在如今這個(gè)“一切皆有可能”、“萬(wàn)事已難創(chuàng)新”的數(shù)字時(shí)代，藝術(shù)家們的確還在使用照相機(jī)，但是僅僅拍照是遠(yuǎn)遠(yuǎn)不夠的了。

那么，攝影之后是什么？

這本《攝影之后：拍照的藝術(shù)家》便試圖通過(guò)深入探究圖像制造中令人興奮的新語(yǔ)言來(lái)回答這個(gè)問(wèn)題。

本書分為五個(gè)部分，分別是“借鑒與創(chuàng)新”“現(xiàn)實(shí)的層列”“整個(gè)世界都是舞臺(tái)”“手與眼”“后現(xiàn)代新聞攝影”，所介紹的創(chuàng)作觀念與技法來(lái)自21世紀(jì)52位最具吸引力、最具創(chuàng)新性的國(guó)際藝術(shù)攝影師。

目錄

序言：攝影之后是…… ···· 07

1

借鑒與創(chuàng)新···················· 13

什卡·漢納································14

約阿希姆·施密德··························22

伊娃·史妲朗································28

妮可·貝勒···································34

戴 維·托馬斯·史密斯····················38

喬尼·布里格斯·····························42

諾?！ど_(dá)斯································46

茱莉亞·博里索娃 ·························50

布倫丹·尤哈斯·····························54

安 德列·施密特·····························58

克萊蒙特·瓦拉·····························62

2

現(xiàn)實(shí)的層列···················· 67

瓦萊里·貝琳································68

李在镕·········································72

喬納森·劉易斯·····························76

蘇菲·西野···································80

奧利沃·巴爾比埃利·······················84

楊泳梁 ········································88

丹·霍茲沃斯································92

3

整個(gè)世界都是舞臺(tái)··········· 99

勞倫斯·德梅松·····························100

原久路·········································106

莎迪·伽迪里安·····························110

萊昂斯·拉斐爾·阿波德魯··············114

克里斯蒂·李·羅杰·······················118

安吉洛·穆斯克·····························122

奧拉夫·布魯寧·····························126

斯佳麗·霍夫特·格拉芙蘭··············132

魯內(nèi)·古納佑森·····························136

埃里克·約翰遜·····························140

若昂·卡斯蒂略·····························144

約翰·克文斯基·····························150

迦勒·哈蘭德································154

亞歷杭德羅·吉加洛·······················158

丹尼爾·埃斯肯納茨·······················162

伯恩德納特·斯米爾德····················166

4

手與眼···························171

阿里奇·布雷恩·····························172

陳農(nóng)············································178

查爾斯·格洛戈·····························182

達(dá)夫娜·塔爾默爾··························186

約爾瑪·普拉能·····························190

朱莉·科伯恩································196

托爾斯滕·瓦爾穆斯·······················200

克洛伊·塞爾斯·····························204

斯蒂菲·克倫茨·····························208

布倫丹·弗勒································212

5

后現(xiàn)代新聞攝影···············217

邁克爾·沃爾夫·····························218

楊怡············································226

瑪?shù)倌取ぐ推尜斊铡ぁぁぁぁぁぁぁぁぁぁぁぁぁぁぁぁぁぁぁぁぁぁ?30

克里斯蒂娜·德·米德爾·················234

理查德·莫斯································238

本雅明·羅伊································244

戴維·伯金···································250

亞當(dāng)·布魯姆伯格、奧利佛·查納林 ···256