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These aren’t so much key texts from the archive of an established domain as they are documents of a living struggle between art as a distant, bleary demand that another world be possible and documentary as a painfully present and acute testimony to the world as it actually is.

Seen through the eyes of both practitioners and commentators – from Elizabeth McCausland in to Marta Zarzycka in – the diversity of what comes between offers a contentious and comprehensive account of the medium of documentary. Check out the top books of the year on our page Best Books of This has in part been led by the exhibition of photographic and video work on political issues at Documenta and numerous biennials and, since the turn of the century, issues of injustice, violence and trauma in increasing zones of conflict.

Stefaan Decostere is not interviewed but instead contributes an essay in which Paul Virilio and other theorists are given credit for a somewhat confused concept. We’re featuring millions of their reader ratings on our book pages to help you find your new favourite book. Other books in this series. Do we need another book full of images of war and mortal cruelty?

Julizn is the world’s largest site focumentary readers with over 50 million reviews. Documentary has undergone a marked revival in recent art, following a long period in which it was a denigrated and unfashionable practice. Looking for beautiful books? The great value of the collection, in other words, is not that of a dry, historical accounting but instead that it draws the reader into the drama of history itself.


Stallabrass judiciously tackles complexities in the imaging of violence, revealing conflicts between their instrumentality and aesthetics, which he tirelessly wrestled with during the process of curating the Biennial.

The Archive Charles Merewether. His books include Gargantua: Balad, Iraq, 15 July, Dispatched from the UK in 1 business day When will my order arrive? Julian Stallabrass leaves the reader in no doubt of this quandary in his new title Memory of Fire: The Everyday Stephen Johnstone. Stallabrass queries why the resulting prints are portents of destruction, while the video is comic; their response reveals how taking performance and non-figurative art to the theatre of war might be legitimate.

Unsurprisingly, this development, along with the close attention paid to photojournalism and mainstream documentary-making in a time of crisis, has been accompanied by a rich strain of theoretical and historical writing on documentary.

Images of War and the War of Imagespublished by Photoworks. Book ratings by Goodreads.

Images of war and their use as agents of warfare the war of images are the two sides of the same coin and, throughout, Stallabrass confronts their corporate and mercenary potential. We use cookies to give you the best possible experience. Description Part of the acclaimed ‘Documents of Contemporary Art’ series of anthologies.

In their now notorious series The Day Nobody Died they adopt the conceptual, pragmatic strategy of exposing a roll of photographic paper directly to front line Afghan light and filming British troops, with whom they were embedded, carrying the heavy cardboard box containing it.


The Sublime Simon Morley. In such case, Stallabrass, his co-authors and interviewees, engaging comprehensively in the festival back in with conflict in images, and now re-evaluating and refining their analysis in this book, empower the reader to conjecture, providing a place to stand in the unending vortex of war and its representation. Morality and Aesthetics in the Aftermath ; and Embedded with Murderers: In Documentary Julian Stallabrass selects, contextualizes and re-views iconic features from the heyday of reportage to the ‘documentary fictions’ of the present.


The Object Antony Hudek. Failure Lisa Le Feuvre.

Julian Stallabrass | Words

Elsewhere, Coco Fusco engenders other players. All images courtesy of Photoworks. Clearly, the pornography of war is irresistible. At the heart of the book is the consideration of art in representing, rather than documenting, war. Its inclusion begs the question: This anthology provides a definitive historical context for documentary, exploring its roots in modernism and its critique under postmodernism; it surveys current theoretical thinking about documentary; and it examines a wide range of work by artists within, around or against documentary through their own writings and interviews.

Review quote “As an introduction to some of the most important thinking on documentary art The Best Books of Home Contact Us Help Free delivery worldwide.

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To discomforting effect, Fusco brings these notions to the infamous snapshots of naked detainees at Abu Ghraib, deploying the technical drawings of her alarmingly burlesque, A Field Guide for Female Interrogators. By using our website you agree to our use of cookies. What follows is spreads of provocative war images from professional photographers, military amateurs and artists, some now all-too-familiar, each vividly introducing a doccumentary of the book including The Power and Impotence of Images ; Making an Ugly World Beautiful?

As an introduction to some of the most important thinking on documentary art