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Henrik Saxgren Henrik Saxgren Unintended Sculptures Bearbeitet von Bill Kouwenhoven, Timothy Persons 1. Auflage 2009. Buch. 112 S. Hardcover ISBN 978 3 7757 2501 9 Format (B x L): 34,7 x 28,6 cm Gewicht: 1385 g Weitere Fachgebiete > Kunst, Architektur, Design > Fotografie > Fotografie: Geschichte und Sammlungen schnell und portofrei erhältlich bei Die Online-Fachbuchhandlung beck-shop.de ist spezialisiert auf Fachbücher, insbesondere Recht, Steuern und Wirtschaft. Im Sortiment finden Sie alle Medien (Bücher, Zeitschriften, CDs, eBooks, etc.) aller Verlage. Ergänzt wird das Programm durch Services wie Neuerscheinungsdienst oder Zusammenstellungen von Büchern zu Sonderpreisen. Der Shop führt mehr als 8 Millionen Produkte. cameras (1887) further aided this process and made photography The Accidental Masterpieces all but universal. The legions of shutterbugs and snapshooters of Henrik Saxgren who followed appeared to demean photography as a viable medium for art. After all, anybody could make a picture once the Kodak box camera got established — “You press the button, we do the rest,” Bill Kouwenhoven as the legendary marketing phrase goes. It would seem that anyone can become an artist, but only the exceptions, like Henrik Saxgren, Like all photographers, Henrik Saxgren is a difficult one prove that rule. to pin down. Is he a documentary photographer, a photojournalist, or an artist? Is he all three or none of the above? The language of Despite the fact that noted artists had taken up the little photography, even more than the language of art, is very slippery. box or made use of larger devices, the revolutionary leap that Indeed, for the first half of its life, the new medium was viewed transformed photography had less to do with the radical trans - either as an invention of mechanics and alchemists or as a threat formations of technology than the embrace of it by radical artists to art itself — “From this day, painting is dead” (Paul Delaroche, like Marcel Duchamp and Man Ray in the 1920s and 1930s, not for 1839). Photography in all its forms labored under this burden for its aesthetic abilities, however, but because photography could readymade objet trouvé. at least fifty years until Alfred Stieglitz fought to establish produce at whim the ultimate or When it as an art form with his 291 Gallery in New York (1905–29) and Duchamp selected a porcelain urinal back in 1917, and installed it Camera Work his influential journal (1902–17). Even then it took in the exhibition of the Society of Independent Artists in New Fountain another seventy-some years for the medium to be established as an York, his revolutionized art by virtue of his declaring art form in the minds of many. by personal fiat, in his role as artist-curator, that this object was indeed art. Essentially this revolutionary gesture changed the homo faber, Part of the problem, of course, is that photography has been role of the artist from that of the maker of things, considered “the most democratic art form” from the time of Louis to that of the curator, the determiner of what was art. In other Daguerre’s public patent (1839), which, more than William Henry words, everything in the world became available as a potential Fox Talbot’s simultaneous efforts, helped promote photogr aphy as objet d’art. This was scandalous because, among other things, it an accessible medium. George Eastman’s breakthrough Kodak box changed the impetus of art from creating art, to stating something -7-.
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