From Library Journal
Some fear that the photographic community's widespread and controversial adoption of digital processes will lead to technical standardization and numbing artistic uniformity. Fortunately, whatever the future of photography, we can all be grateful for the artists, such as those covered in this book, who are investigating and exploiting its past. This is a stunning survey of current work by inventive artists employing pre-20th century means to address postmodern and contemporary issues and aesthetics. The 60 artists, including Sally Mann and Chuck Close, utilize an array of processes (e.g., wet-plate photography) and applications (e.g., emulsion on steel) to create images that are dependent on light and time and that, as Mann states, "cost you dearly in time and energy." The 120 images include luscious cyanotype prints on various materials, enduring daguerreotypes, dreamy ambrotype prints, and eerie tintypes. An informative and accessible text by photography writer Rexer gives historic and theoretical perspective, and the brief technical glossary serves as a primer for the novice. Highly recommended for large academic and public collections, this is also an affordable resource for smaller libraries.Debora Miller, MinneapolisCopyright 2002 Reed Business Information, Inc.


Book Description
In direct rejection of the point-and-click tricks of digital photography, a renegade group of artists have turned their attention to near-obscure 19th-century processes from cyanotypes to daguerreotypes. Featuring 120 color images and works by 60 artists, this is the only book to chart this worldwide revival. The members of the Antiquarian Avant-Garde, who include Adam Fuss, Sally Mann, and Jayne Hinds Bidaut, seek to reengage the physical, hands-on facets of photography, and to celebrate the diverse, idiosyncratic results. An essay by Chuck Close and an interview with Sally Mann enhance Lyle Rexer's lively text, which highlights the importance of the new movement for art and photography. A glossary gives detailed insight into such diverse methods as daguerreotypes, photograms, tintypes, and gum bichromates.

FROM THE PUBLISHER

It started in the 1970s with a group of artists seeking to reengage the physical facts of photography, its materials and processes, by turning to the history of photography for metaphors, technical information, and visual inspiration. By the 1980s it had become a movement with a fervent following. And now, for the first time in book form, Photography's Antiquarian Avant-Garde charts this full-blown rebellion of contemporary photographers against the advent of digital technology and their reversion to photographic methods used in the nineteenth century.

By beginning with a narrative history of photography that allows the reader to understand the forebears of this movement, author Lyle Rexer provides a context for engaging with the contemporary work. For all of the artists illustrated, stepping into the past is a way to reimagine and redirect not only the photographic object, but the very act of photography itself. In each subsequent chapter, he introduces the reader to a different technique and, along with providing vivid insights into the creative processes of the artists, makes visible the astonishing diversity of their work.

The photographers in this volume are from all over the world and use a wide array of processes. Among the artists and methods featured are Adam Fuss's Cibachrome photograms, Jayne Hinds Bidaut's tintypes, Jerry Spagnoli's daguerreotypes, Gabor Kerekes's carbon dichromates, and Laurent Millet's toned silver prints. An interview with Sally Mann about her collodion prints and a statement written by Chuck Close about his work with daguerreotypes give the reader a clear sense of what has driven them to pursue these long-obsolete processes. The book is completed by a glossary of technical terms to enhance the reader's understanding of the technical aspects of each process.

SYNOPSIS

Fans of photography will prize this beautifully illustrated volume by Rexer (a contributor to Aperture who has written other catalogs on photography and contemporary art). The current movement to use 19th- century techniques is described. Five of these techniques each get their own essay, namely, daguerreotype, tintype, cyanotype, photograms, and glass plates. Two additional essays include an interview with Sally Mann, and an essay by Chuck Close on his use of daguerreotype. A technical glossary is provided. Annotation c. Book News, Inc., Portland, OR

FROM THE CRITICS

Library Journal

Some fear that the photographic community's widespread and controversial adoption of digital processes will lead to technical standardization and numbing artistic uniformity. Fortunately, whatever the future of photography, we can all be grateful for the artists, such as those covered in this book, who are investigating and exploiting its past. This is a stunning survey of current work by inventive artists employing pre-20th century means to address postmodern and contemporary issues and aesthetics. The 60 artists, including Sally Mann and Chuck Close, utilize an array of processes (e.g., wet-plate photography) and applications (e.g., emulsion on steel) to create images that are dependent on light and time and that, as Mann states, "cost you dearly in time and energy." The 120 images include luscious cyanotype prints on various materials, enduring daguerreotypes, dreamy ambrotype prints, and eerie tintypes. An informative and accessible text by photography writer Rexer gives historic and theoretical perspective, and the brief technical glossary serves as a primer for the novice. Highly recommended for large academic and public collections, this is also an affordable resource for smaller libraries.-Debora Miller, Minneapolis Copyright 2002 Cahners Business Information.

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