Liz Wells is best known for editing two of the most frequently used anthologies in courses devoted to the history and practice of photography: The Photography Reader New York: Routledge, and Photography: A Critical Introduction New York: Routledge, She is also a coeditor of the journal Photographies , launched in , and has curated several exhibitions of contemporary landscape photography. Land Matters draws upon a lengthy catalogue of previous scholarship on this topic, something Wells openly acknowledges. Unlike Bright, who is focused primarily on questions about identity, Wells engages in broader questions about landscape and place-making, which has become a significant topic of discussion in landscape studies due to the pioneering work of cultural geographers like Denis Cosgrove and J.
JOHN PFAHL TAKES AN INTELLECTUAL LOOK AT ALTERED LANDSCAPES
Dana Fritz | Hixson-Lied College of Fine and Performing Arts | Nebraska
Photographer Edward Weston is most famous for bell peppers that look like nudes and nudes that look like granite. He is one of a handful of American photographers that took the art from gauzy Edwardian Pictorialism to hard-edged industrial Modernism. Along with the patriarch Alfred Stieglitz and the radical Paul Strand, they put the wooden stake into the heart of the merely pretty. Unlike the soft-focus Pictorialism that sought to imitate the look of Impressionist paintings, Weston and the other American pioneers attempted a hard edge, sharp vision that took advantage of what the camera and lens could see. Not that that makes him any less an artist. He was born in Illinois in , son of a doctor, who got him his first box camera when Edward was 16 years old. In , he moved to Tropico, Calif.
The Silence of the Lambswool Cardigans
There is a whole language of class in the garden—when they returned to the garden, flowers were redeemed with the tasteful monochromatic schemes of the likes of Gertrude Jekyll; and, as gardening essayist Michael Pollan points out, there is a whole class war of the roses, in which old roses—more fragrant, more softly shaped, less abundant in their bloom, more limited in the palette—are the exiled aristocracy. Good taste is about renunciation: you must have enough to restrain in order to value restraint, enough abundance to prize austerity. Some are as blowsy as half-dressed Renoir girls; others are like spiky sea-creatures, water lilies, or the spirals in a crystal paperweight; and they do shoot up to prodigious heights. But to me they are sumptuous, not vulgar.
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