- Taschenbuch: 80 Seiten
- Verlag: Holiday House Inc; Auflage: Reprint (April 2002)
- Sprache: Englisch
- ISBN-10: 0823417522
- ISBN-13: 978-0823417520
- Vom Hersteller empfohlenes Alter: 9 - 12 Jahre
- Größe und/oder Gewicht: 25,5 x 21 x 0,8 cm
- Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen Alle Rezensionen anzeigen (1 Kundenrezension)
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Amazon Bestseller-Rang:
Nr. 1.239.094 in Englische Bücher (Siehe Top 100 in Englische Bücher)
- Nr. 72 in Englische Bücher > Kinderbücher > Kunst & Musik > Fotografie
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Produktbeschreibungen
From Booklist
Gr. 7-12. The author of Inspirations (1989) and Visions (1993) offers another outstanding collected biography of female artists. The artists--Imogene Cunningham, Dorothea Lange, Lola Alvarez Bravo, Carrie Mae Weems, Elsa Dorfman, and Cindy Sherman--represent widely disparate backgrounds and nearly a century of photographic excellence. In plain, direct language, Sills focuses on the artists' work, weaving in biographical details as they relate to the women's careers and beautifully articulating the significance of each artist's body of work within her larger cultural context. In discussing individual works, all well reproduced, Sills guides readers through the basics of how to look at and interpret photographs by questioning the photographer's subject, composition, lighting, and processing choices: "Is she trying to educate her audience, show a particular side of humanity, portray beauty, or make us laugh? Would her work be considered documentary, portraiture, abstract, or fantasy? Most important, what is the feeling you have when viewing the photograph?" Much more than just a biographical resource, this outstanding volume will help give young people the confidence to approach not only photography but also all the visual arts. The book concludes with an overview of camera mechanics and suggested reading lists. For other recent biographies of women photographers, direct readers to Elizabeth Partridge's Restless Spirit (1998) and Susan Goldman Rubin's Margaret Bourke White: Her Pictures Were Her Life (1999). Gillian Engberg
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
Copyright © American Library Association. All rights reserved -- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
From School Library Journal
Gr 6 Up-A celebration of the diverse careers and artistic styles of six photographers whose work spans nearly a century. Veterans Dorothea Lange, Imogen Cunningham, and Lola Alvarez Bravo are featured along with relative newcomers Elsa Dorfman, Carrie Mae Weems, and Cindy Sherman. In an upbeat voice, Sills traces the women's early lives and the events that propelled them to explore the world with a camera in hand, often breaking down ethnic and gender barriers in the process. While she does justice to the biographical details of her subjects, her discussions of their individual techniques suffer because there are too few photographs. The chapter on Lange, for example, has only nine photographs, and while five of them depict her evocative portraits of Dust Bowl refugees, they fail to reveal the breadth of her talent. Chapters on Bravo and Weems include just six representative works of each artist. However, an excellent bibliography and list of Web sites will point readers to sources containing additional visual elements.-William McLoughlin, Brookside School, Worthington, OH
Copyright 2001 Cahners Business Information, Inc.
-- Dieser Text bezieht sich auf eine vergriffene oder nicht verfügbare Ausgabe dieses Titels.
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Kundenrezensionen
Die hilfreichsten Kundenrezensionen
Format:Gebundene Ausgabe
Knowing that women artists in all fields tend to suffer from a lack of public exposure, I took a look at this volume hoping to find some good work that I had not seen before. My hopes were rewarded when all six photographers proved to be talented, interesting, and stylistically different from each other . . . and four of them were new to me. With the two artists I knew before, the biographical essays added to my knowledge, making every aspect of the book a pleasant surprise.
The book is organized around the concept that "cameras do copy which is front of the lens . . . [but these images are also] creations of the artist's intention and unconscious mind."
The essays are especially rewarding for their balance in explaining the artists' family lives, their relationships with the men in their lives, how they started into photography, their technique, and descriptions of their aesthetic values. Leslie Sills is pleasantly succinct:
Imogen Cunningham: "liked to examine life closely" and focused on "shapes, textures, patterns" in nature. She also captured the "essence" of people.
Dorothea Lange: The camera was an "activist tool" which "revealed the sufering of thousands and motivated others to help" during the Depression.
Lola Alvarez Bravo: Captured the real "Mexico after the Mexican Revolution" occurred there.
Carrie Mae Weems: Showed the "complexities of being human" especially in "squelching stereotypes" and "honoring African-American culture."
Elsa Dorfman: "Celebrates humanity" with her oversized camera that captures people to look more naturally like themselves than photographs normally do.
Cindy Sherman: Sees the camera as an "instrument to copy her constructed scenes" which are "puzzles that challenge her audience."
It has not been easy to be a woman photographer and these women succeeded because they persevered, as well as because they were so talented. Their stories are as inspiring as any I have read, and also tell an interesting tale of how your work can help you express your inner self.
Here are my favorite images from the book:
Imogen Cunningham:
Magnolia Blossom, 1925
My Father at 90, 1936
Morris Graves, Painter, 1950
Dorothea Lange:
Migrant Mother, Nipomo, California, 1936 (Series of 3)
There is a wonderful description of how this series was shot on a day when Ms. Lange was exhausted and had driven past the migrant labor camp in the rain before deciding intuitively to turn back and try her luck.
Lola Alvarez Bravo:
Por culpas ajenas, c. 1945
Elsueno de los pobres 2, 1943
The Two Fridas, c. 1944
Carrie Mae Weems:
Mom at Work, 1978-1984
Untitled (Letter Holder), 1988-89
Her work also included long interviews with her family.
Elsa Dorfman:
Robbie and the Dinosaur Femur, 1970
Terri Terralouge and Aileen Graham, 1989
Cindy Sherman:
Untitled #224, 1990
Given that these styles are so different and so vivid, I encourage you to use this book to inspire you to create some art. It doesn't have to be photography. Whether you like to sketch, sculpt, paint, or make colored soap bubbles, give yourself the chance to live freer and take a little time to express yourself. You'll feel so much better, and the rest of us will be enriched by your gift.
Express yourself . . . to find yourself!
The book is organized around the concept that "cameras do copy which is front of the lens . . . [but these images are also] creations of the artist's intention and unconscious mind."
The essays are especially rewarding for their balance in explaining the artists' family lives, their relationships with the men in their lives, how they started into photography, their technique, and descriptions of their aesthetic values. Leslie Sills is pleasantly succinct:
Imogen Cunningham: "liked to examine life closely" and focused on "shapes, textures, patterns" in nature. She also captured the "essence" of people.
Dorothea Lange: The camera was an "activist tool" which "revealed the sufering of thousands and motivated others to help" during the Depression.
Lola Alvarez Bravo: Captured the real "Mexico after the Mexican Revolution" occurred there.
Carrie Mae Weems: Showed the "complexities of being human" especially in "squelching stereotypes" and "honoring African-American culture."
Elsa Dorfman: "Celebrates humanity" with her oversized camera that captures people to look more naturally like themselves than photographs normally do.
Cindy Sherman: Sees the camera as an "instrument to copy her constructed scenes" which are "puzzles that challenge her audience."
It has not been easy to be a woman photographer and these women succeeded because they persevered, as well as because they were so talented. Their stories are as inspiring as any I have read, and also tell an interesting tale of how your work can help you express your inner self.
Here are my favorite images from the book:
Imogen Cunningham:
Magnolia Blossom, 1925
My Father at 90, 1936
Morris Graves, Painter, 1950
Dorothea Lange:
Migrant Mother, Nipomo, California, 1936 (Series of 3)
There is a wonderful description of how this series was shot on a day when Ms. Lange was exhausted and had driven past the migrant labor camp in the rain before deciding intuitively to turn back and try her luck.
Lola Alvarez Bravo:
Por culpas ajenas, c. 1945
Elsueno de los pobres 2, 1943
The Two Fridas, c. 1944
Carrie Mae Weems:
Mom at Work, 1978-1984
Untitled (Letter Holder), 1988-89
Her work also included long interviews with her family.
Elsa Dorfman:
Robbie and the Dinosaur Femur, 1970
Terri Terralouge and Aileen Graham, 1989
Cindy Sherman:
Untitled #224, 1990
Given that these styles are so different and so vivid, I encourage you to use this book to inspire you to create some art. It doesn't have to be photography. Whether you like to sketch, sculpt, paint, or make colored soap bubbles, give yourself the chance to live freer and take a little time to express yourself. You'll feel so much better, and the rest of us will be enriched by your gift.
Express yourself . . . to find yourself!
Die hilfreichsten Kundenrezensionen auf Amazon.com (beta)
Amazon.com:
6 Rezensionen
5 von 5 Kunden fanden die folgende Rezension hilfreich
Simple Introduction to Six Outstanding Women Photographers
3. Januar 2001
Format:Gebundene Ausgabe
Knowing that women artists in all fields tend to suffer from a lack of public exposure, I took a look at this volume hoping to find some good work that I had not seen before. My hopes were rewarded when all six photographers proved to be talented, interesting, and stylistically different from each other . . . and four of them were new to me. With the two artists I knew before, the biographical essays added to my knowledge, making every aspect of the book a pleasant surprise.
The book is organized around the concept that "cameras do copy which is front of the lens . . . [but these images are also] creations of the artist's intention and unconscious mind."
The essays are especially rewarding for their balance in explaining the artists' family lives, their relationships with the men in their lives, how they started into photography, their technique, and descriptions of their aesthetic values. Leslie Sills is pleasantly succinct:
Imogen Cunningham: "liked to examine life closely" and focused on "shapes, textures, patterns" in nature. She also captured the "essence" of people.
Dorothea Lange: The camera was an "activist tool" which "revealed the sufering of thousands and motivated others to help" during the Depression.
Lola Alvarez Bravo: Captured the real "Mexico after the Mexican Revolution" occurred there.
Carrie Mae Weems: Showed the "complexities of being human" especially in "squelching stereotypes" and "honoring African-American culture."
Elsa Dorfman: "Celebrates humanity" with her oversized camera that captures people to look more naturally like themselves than photographs normally do.
Cindy Sherman: Sees the camera as an "instrument to copy her constructed scenes" which are "puzzles that challenge her audience."
It has not been easy to be a woman photographer and these women succeeded because they persevered, as well as because they were so talented. Their stories are as inspiring as any I have read, and also tell an interesting tale of how your work can help you express your inner self.
Here are my favorite images from the book:
Imogen Cunningham:
Magnolia Blossom, 1925
My Father at 90, 1936
Morris Graves, Painter, 1950
Dorothea Lange:
Migrant Mother, Nipomo, California, 1936 (Series of 3)
There is a wonderful description of how this series was shot on a day when Ms. Lange was exhausted and had driven past the migrant labor camp in the rain before deciding intuitively to turn back and try her luck.
Lola Alvarez Bravo:
Por culpas ajenas, c. 1945
Elsueno de los pobres 2, 1943
The Two Fridas, c. 1944
Carrie Mae Weems:
Mom at Work, 1978-1984
Untitled (Letter Holder), 1988-89
Her work also included long interviews with her family.
Elsa Dorfman:
Robbie and the Dinosaur Femur, 1970
Terri Terralouge and Aileen Graham, 1989
Cindy Sherman:
Untitled #224, 1990
Given that these styles are so different and so vivid, I encourage you to use this book to inspire you to create some art. It doesn't have to be photography. Whether you like to sketch, sculpt, paint, or make colored soap bubbles, give yourself the chance to live freer and take a little time to express yourself. You'll feel so much better, and the rest of us will be enriched by your gift.
Express yourself . . . to find yourself!
3 von 3 Kunden fanden die folgende Rezension hilfreich
In Real Life
29. Januar 2001
Format:Gebundene Ausgabe
I have thoroughly enjoyed Leslie Sill's previous books on artists, and now her latest book on photographers. They are wonderful outlines of artist's lives, their work, and how their past experiences have influenced the direction of their art. As an art teacher, I try to incorporate different ways of introducing my students to a wide range of work. Because these stories are so well-written and inspiring, I have designed large portions of my curriculum around Sill's past books and look forward to using this book as well. The stories are thorough, yet written in a way that the average person, who may not necessarily feel that they have a valid knowledge on art, could walk away from it with a new understanding and interest. And just the opposite, for someone who is innvolved in art, this book is beautifully put together and would be a valued part of any art book collection.
2 von 2 Kunden fanden die folgende Rezension hilfreich
A Great Book About Women Photographers
14. Januar 2001
Format:Gebundene Ausgabe
When I first read this book, I was moved by these women's lives. I was amazed at how they persevered at their art through all the hardships of life. I find Leslie Sills an amazing writer. This is not the first book I have read by her. I also have the one about painters, and by reading both books I felt that I learned alot. Leslie Sills is an amazing artist herself, and her own life should be the subject of a book someday. I would recommend this book to anybody, but particularly to people interested in photography or art.
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