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Stallanrass Part of the acclaimed ‘Documents of Contemporary Art’ series of anthologies. Documentary has undergone a marked revival in recent art, following a long period in which it was a denigrated and unfashionable practice. 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.
Aesthetically, documentary is now one of the most prominent modes of art-making, in part assisted by the linked transformation and recuperation of photography and video by the gallery documentzry museum world.
Julian Stallabrass | Words
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. 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.
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Documentary : Julian Stallabrass :
The Archive Charles Merewether. The Object Antony Hudek. Failure Lisa Le Feuvre. Review quote “As an introduction to some of the most important thinking on documentary art 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, documentzry demand that another world be possible and documentary as a painfully present and acute testimony to the world as it actually is.
The great value of the collection, in other words, is not that of a dry, historical accounting but staklabrass that it draws the reader into the drama of history itself.
In Documentary Julian Stallabrass selects, contextualizes and re-views iconic features from the heyday of reportage to the ‘documentary fictions’ dpcumentary the present. 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.
As an introduction to some of the most important thinking on documentary art His books include Gargantua: Book ratings by Goodreads. Goodreads stallagrass the world’s largest site for readers with over 50 million reviews. We’re featuring millions of their reader ratings on our book pages to help you find your new favourite book.