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Editorial Reviews
From Publishers Weekly
In an enlightening, authoritative foreword to this retrospective collection of Uelsmann's radical photo art, Coleman, who teaches at the Tisch School of the Arts, New York University, cites photomontages of 19th-century sentimentalists and Dadaists of the 1920s as important precursors to Uelsmann's work--the intermanipulation of two or more pre-imaged negatives to produce a single ``post-visualized'' print. As seen here in seamless cohesion, improbably matched images ``appear integral to the depicted scene.'' In a reverse kinship of form, four hands softly entwined contrast with four rocks suspended and forbodingly separate in mid-air; individual orbed faces are either hand-held or framed in a geographer's globe; a tiny human figure climbs the slope of a tilted drafting-board in a richly paneled chamber open to the sky. Uelsmann's originality is impressive.
Product Description
When Uelsmann began his career in the late 1950s, fine-art photography was dominated by the documentary tradition of Walker Evans and the purist aesthetic of Edward Weston, Ansel Adams, and the West Coast School. Today, the photomontage - the composite image generated in the darkroom by multiple printing technqiues that employ several negatives - has become an accepted art form, and Uelsmann is the modern master of it. This collection of the best of his images created over the past 35 years documents his seminal contribution to 20th century art. Uelsmann's technique of merging disparate images produces seamless, surreal compositions as emotionally and psychologically allusive as they are technically flawless. Jerry N. Uelsmann, a recipient of NEA and Guggenheim fellowships, has had more than 100 major exhibitions of his work over the past 30 years at museums and galleries worldwide, including the Museum of Modern Art in New York, the Art Institute of Chicago, and the George Eastman House. His photographs are in the permanent collections of these and many other national and international museums, among them the Fogg Art Museum at Harvard University, the Metropolitan Museum, the Royal Photographic Society (London), the Victoria and Albert Museum (London), the National Museum of Modern Art (Kyoto), the Bibliotheque National (Paris), and the National Galleries of Scotland, Australia, and Canada.
In an enlightening, authoritative foreword to this retrospective collection of Uelsmann's radical photo art, Coleman, who teaches at the Tisch School of the Arts, New York University, cites photomontages of 19th-century sentimentalists and Dadaists of the 1920s as important precursors to Uelsmann's work--the intermanipulation of two or more pre-imaged negatives to produce a single ``post-visualized'' print. As seen here in seamless cohesion, improbably matched images ``appear integral to the depicted scene.'' In a reverse kinship of form, four hands softly entwined contrast with four rocks suspended and forbodingly separate in mid-air; individual orbed faces are either hand-held or framed in a geographer's globe; a tiny human figure climbs the slope of a tilted drafting-board in a richly paneled chamber open to the sky. Uelsmann's originality is impressive.
Copyright 1992 Cahners Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.Product Description
When Uelsmann began his career in the late 1950s, fine-art photography was dominated by the documentary tradition of Walker Evans and the purist aesthetic of Edward Weston, Ansel Adams, and the West Coast School. Today, the photomontage - the composite image generated in the darkroom by multiple printing technqiues that employ several negatives - has become an accepted art form, and Uelsmann is the modern master of it. This collection of the best of his images created over the past 35 years documents his seminal contribution to 20th century art. Uelsmann's technique of merging disparate images produces seamless, surreal compositions as emotionally and psychologically allusive as they are technically flawless. Jerry N. Uelsmann, a recipient of NEA and Guggenheim fellowships, has had more than 100 major exhibitions of his work over the past 30 years at museums and galleries worldwide, including the Museum of Modern Art in New York, the Art Institute of Chicago, and the George Eastman House. His photographs are in the permanent collections of these and many other national and international museums, among them the Fogg Art Museum at Harvard University, the Metropolitan Museum, the Royal Photographic Society (London), the Victoria and Albert Museum (London), the National Museum of Modern Art (Kyoto), the Bibliotheque National (Paris), and the National Galleries of Scotland, Australia, and Canada.
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