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This is a fantastic anthology of modern photography. I checked this out from the library but I want it for myself. Very inspired by the originality of the photographic creations collected inside.
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reGeneration: 50 Photographers of Tomorrow
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What are young photographers up to at the outset of the twenty-first century? How do they see the world? How much do they respect, build on or reject tradition? Are they busy in the darkroom or in the computer lab--or both? reGeneration sets out to discover answers to these intriguing questions, previewing the work of 50 photographers who may well emerge as some of the finest of their generation. This remarkable book, the broadest and most enterprising survey of its kind, showcases the creativity, ingenuity and inspiration of these up-and-coming artists in over 200 superb images. Curators at the world-renowned Musee de l'Elysee in Lausanne, France, selected the featured photographers from hundreds of candidates submitted by more than 60 of the world's top photography schools. The panel's choice was made with one key question in are these images likely to be known in 20 years' time? The results show that, as the new century builds momentum, the art of photography is alive and well, and photographers of extraordinary talent are already making their mark.
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Genres
photographynonfictionart
224 pages, Paperback
First published September 5,2005
This edition
- Format
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224 pages, Paperback
- Published
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April 1, 2006 by Aperture
- ISBN
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9781931788984
- ASIN
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1931788987
- Language
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English
About the author
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William A. Ewing is a Canadian art historian specializing in photography. He served as the director of the Musée de l'Élysée in Lausanne from 1996 to 2010 and has been a research professor in the art history department at the University of Geneva, where he has focused on the history of photography. He has curated numerous international exhibitions and authored several books on the photographic representation of the human body. He is also the founder of the Todi Circle, an annual think tank on photography held in Todi, Italy. His publications include The Body, Le Siècle du Corps, and Edward Steichen: Carnet Mondain.
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The premise of reGeneration is an interesting one. Seasoned curators of fine art photography from the Musée de l’Elysée in Switzerland set out to identify 50 young photographers having, in their opinion, the potential to become well-known names by 2025. (They began around 2002, 20 years being the time supposedly needed to “solidly establish themselves.”) Museum curators normally preserve what art they feel is important from the past, so the endeavor was quite a departure. While they admit to some bias, for example the use of only students currently enrolled in (or recently graduated from) art schools, their method seems scientific enough. Art schools from around the world were asked to submit the best work from their most promising students. The names of the schools were not visible during the review process so as to avoid undue influence.
The curators of this project in their introduction make several observations about the submitted works as a whole. For one, black-and-white imagery was almost nonexistent. This was surprising and a bit refreshing given the photographers were all art students being force-fed the theory and history of the medium. This seems to mean many schools encourage unique personal expression rather than adherence to past norms. That possibility is further supported by another observation offered by the curators. These young photographers do not begin with the assumption that photography’s main purpose is to convey truth. So-called “straight” photography was barely represented except where reportage was the stated genre. Manipulation, both digital and otherwise, is commonplace and even central to these emerging artists. It is as if the once celebrated “decisive moment” has been abandoned and entirely relegated to travel photography.
It was a delight flipping through this book. The comments that accompany each set of images are well-written and provide a deeper understanding of where these photographers are coming from generationally and artistically. If nothing else it is, as William A. Ewing puts it in the preface, “an homage paid by one generation to another.” Buy or borrow this book for a glimpse into the future of fine art photography.
The curators of this project in their introduction make several observations about the submitted works as a whole. For one, black-and-white imagery was almost nonexistent. This was surprising and a bit refreshing given the photographers were all art students being force-fed the theory and history of the medium. This seems to mean many schools encourage unique personal expression rather than adherence to past norms. That possibility is further supported by another observation offered by the curators. These young photographers do not begin with the assumption that photography’s main purpose is to convey truth. So-called “straight” photography was barely represented except where reportage was the stated genre. Manipulation, both digital and otherwise, is commonplace and even central to these emerging artists. It is as if the once celebrated “decisive moment” has been abandoned and entirely relegated to travel photography.
It was a delight flipping through this book. The comments that accompany each set of images are well-written and provide a deeper understanding of where these photographers are coming from generationally and artistically. If nothing else it is, as William A. Ewing puts it in the preface, “an homage paid by one generation to another.” Buy or borrow this book for a glimpse into the future of fine art photography.
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“flimsy, empty, trendy”
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Part of the show came to my school, I really loved a lot of the work.
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