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Walker Evans' radical photography of the 1930s demonstrated that unembellished photographic fact could serve as a highly poetic language. These works expanded the potential of the art of photography and at the same time defined a lasting iconography that recognized advertising, movies, and car culture as central images of modern American identity. Walker Evans & Company focuses on Evans as a central figure in the arts of the 1920s and 30s, and includes works in photography and other mediums that influenced Evans or were influenced by him, or which resonate in a significant way with aspects of his imagery, sensibility, and style. Among the other artists whose work is featured are: Eugene Atget, Mathew Brady, Stuart Davis, Robert Frank, Lee Friedlander, Edward Hopper, Roy Lichtenstein, Ed Ruscha, August Sander, Andy Warhol, and Edward Weston. (extrait de Amazon.com)

Photographie --- Photography, Artistic --- Photography --- Nineteen twenties --- Nineteen thirties --- History --- Evans, Walker --- Evans, Walker, --- Museum of Modern Art (New York, NY) --- Photograph collections --- Exhibitions --- Photography [Artistic ] --- United States --- 20th century --- Photographers --- Biography --- Museum of Modern Art (New York, N.Y.) --- Europe --- Photography, Artistic - Exhibitions --- Photography - Europe - History - 20th century - Exhibitions --- Nineteen twenties - Exhibitions --- Nineteen thirties - Exhibitions --- Evans, Walker, - 1903-1975 - Exhibitions --- Evans, Walker, - 1903-1975

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Art styles --- Painting --- anno 1900-1999

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Graphic arts --- Sugiura, Hisui --- Japan

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"This book, published in conjunction with an exhibition drawn from the collection of The Museum of Modern Art, New York, explores the antimodernist impulse and, in so doing, presents a new vision of the complexities of modern art. In an in-depth study, Robert Storr, Senior Curator in the Museum's Department of Painting and Sculpture, traces the development of what he calls the anti-avant-garde, from its first appearance as the widespread "return to order" in European art after World War I through the reemergence of figuration in international work of the 1980s. Storr discusses the social, political, and historical forces affecting paintings, sculpture, drawings, and prints, along with the influence of such major figures as Pablo Picasso, Otto Dix, and Philip Guston on the ascendancy of classicizing, narrative, and so-called traditional art at various times in the twentieth century. The fact that artists often crossed the boundary between modernism and the anti-avant garde - and that their aesthetic choices were not necessarily aligned with their political views - may surprise readers. Storr also looks at changing notions of taste and the reception of avant-garde art in the United States, a process in which The Museum of Modern Art played a key role."--Jacket

Art, Modern --- Modernism (Art) --- Anti-modernism (Art) --- Anti-avant garde (Art)

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Sugai, Kumi