Customer Reviews

Looking at Photographs: 100 Pictures from the Collection of The Museum of Modern Art

5 star:		(8)
4 star:		(1)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

I found the title and editorial description rather misleading: "A visually splendid album, the book is both a treasury of remarkable photographs and a lively introduction to the aesthetics and the historical development of photography."

I found the book disappointingly short on the aesthetics part. The book contains 100 photographs and a short essay/note on each of them. Now, most of the text is actually about the background of the photograph. Mostly about the photographer and situation photographed and some on the printing process employed. Generally only the last paragraph is devoted to some comments on the image itself. I really expected to learn more about Szarkowski's thoughts on the images as such.

The book is much better on the historical part. The essays are quite enjoyable and have given me a small background knowledge of the historical development of photography. There is something about the authors lucid style of writing that appeals to me, and seduced me to actually complete the read and rather enjoy it even though it turned out to be very different from what I expected.

The historical part deserves a 5 star rating, however both the title and editorial description suggests a more comprehensive treatment of the aesthetical part. I therefore give it a 3 star rating.

If you think that you can appreciate a photographic image try to look at the images in this book and explain what you see and why do you like it or not. And then read the short essay by John Szarkovski. You will be amazed how rich is his language and precise is his judgment on each photograph and photographer. You can open this book randomly day after day and get inspired and motivated with exemplary classics accompanied with explanation of what has been achieved by each and how does it make difference for us today and for the whole history of art and craft of photography.

This book is a perfect gift for someone who not only enjoys photographs by others but wants to form a vision of his own. It is full of hints for creativity carefully selected and presented with perfection.

The duotone prints in the book are done on the great paper with amazing in quality.

Ok, back in print finally,this is a must have addition to your photographic library. The criticism of images from MOMA, by John Szarkowski, will open your mind to the story behind the photographs. It is a cliff notes of a master class in understanding photography.

Thanks to the reliable and insightful reviews and discussions on Mike Johnston's "The Online Photographer", I've had the opportunity to purchase several fine books about photography and photographers. Those by John Szarkowski, recently Director of the Photography Division of the Museum of Modern Art, are at the top of my list of favorites. He was an excellent photographer all of his life and made use of his artistic sense and his thoughtful approach to strengthen and expand MOMA's photography collection and to comment in print about the history, techniques, and esthetics of that art form. This book is an important contribution to my library.

I also came to know of this book from Mike Johnston's "The Online Photographer" blog. Reading this book is like having a personal non-hurried guided tour of 100 significant works at MOMA by an expert curator.

The subjects of the discussion of each image is not identical for each one. In most discussions we learn about the history of the photographer. More words are probably used to discuss each photographer's history than anything else. The curator's discussion of why the image is significant, why it works etc, is less even with some images getting a greater discussion about this than others.

If indeed I had had a long private tour of these images with Mr. Szarkowski I would have asked more questions about why the individual images "worked" than what the author covered in his discussions. OTOH, since I'm somewhat lazy about visiting museums (and I live in NYC!) reading this book is equal or better than a long day trip to the museum. I certainly came away knowing more than when I started this book.

I bought this wonderful book with my Christmas or birthday money over thirty years ago, when I was a teenager first interested in the art of photography. I spent hours looking at the photos and reading the text. I learned so much, not about the "how to" of photography, but about what makes a great photo.

Imagine you are invited to spend the day viewing the photography collection of The Museum of Modern Art, and your guide for this visit will be none other than John Szarkowski, one of the most important and influential curators ever and also a great gentleman. Imagine also that Szarkowski's goal is something more than to show you great photographs--it is nothing less than to teach you how to see like a photographer.

Szarkowski accomplishes this goal with an ingenious format: on one page he shows you an image, printed in duotone, and on the facing page he tells you about the photographer, important influences, the technology employed, the photographer's importance to the history of the medium and just what it is that, to Szarkowski, made the photograph compelling.

This is easily one of the 10 most important photography books ever published for a general audience and deserves a place in the library of anyone who cares about photography.

Looking at photographs is without doubt one of those books which has influenced many students and teachers, and is highly recommended if you want to become a photographer or appreciate its creative magic. And I did use it occasionally myself to help students with their approach in how they use a camera and learn to "SEE". On page 202-203 there is an image by the famous Czech photograper, Josef Koudelka. It is of a gypsy man standing alone in handcuffs, staring straight ahead and behind him a group of people in the distance observing this scene. John Szarkowski's description of what is taking place is totally incorrect and sadly very misleading. Gypsy laws are complicated and their culture often misunderstood and this is one instance of that. What is taking place here is a re-enactment of the murder he has committed but he is definitely not going to his execution. In fact he was set free because he acted in accordance with Gypsy law. Josef Koudelka is a friend from the mid 1970's and through an associate of his, another Czech photographer, I was told the actual story many years ago. The story is far too detailed to write here but the man did murder his wife because she was having an affair. But under their laws and this specific situation he was eventually set free. And Josef who was in Chicago earlier this year confirmed this story when the curator from the ART INSTITUTE asked him to explain this photograph to the audience which he did. Szarkowski apparently said, that this is what he was told - but by who? We will never know. But it is an unfortunate mistake because the actual story is far more interesting. I hope this helps anyone who finds this image as intriguing as I do. This book is full of wonderful images and one can find a lot to speculate about and to gain inspiration from. Too many words sometimes for me but so inspirational for others which is what a good book such as this should do. If there is some way I can tell the actual story I would be willing to - but how and where?

The book was in better shape and came sooner than I expected. Amazing read too, I'm keeping it in our library.

This is a great book about photographs of MOMA, written in a very clear and inspired fashion