Fred Herzog

Fred Herzog
Author: Jeff Wall David Campany Michael Koetzle
Rating: 4.59
Bestsellers Rate: 27810
Publisher: Hatje Cantz
Book Format: Hardback
Binding: None
Pages: 320
Hours of reading: 5.3 hours
Publication Date: 2021
Languages: | English |
Price: 66,90 €

About the book

Fred Herzog is known for his unusual use of colour in the fifties and sixties, a time when art photography was almost exclusively associated with black and white imagery. The Canadian photographer worked almost exclusively with Kodachrome slide film for over 50 years, and only in the past decade has technology allowed him to make archival pigment prints that match the exceptional color and intensity of the Kodachrome slide. In this respect, his photographs can be seen as a pre-figuration of the New Color photographers of the seventies.This book will bring together over 230 images, many never before reproduced, and will feature essays by acclaimed authors David Campany and Hans-Michael Koetzle. Fred Herzog will be the most comprehensive publication on this important photographer to date.




Fred Herzog might not be a household name in the photography world, but his work holds its own against the likes of Walker Evans and William Eggleston, two photographers with whom Herzog shares an aesthetic.... Herzog offers up a body of street photography created before it was a recognized genre.--Ann Hermes "Christian Science Monitor"

Jeff Wall Biography

Jeffrey Wall, OC, RSA (born September 29, 1946) is a Canadian artist best known for his large-scale back-lit Cibachrome photographs and art history writing. Early in his career, he helped define the Vancouver School and he has published essays on the work of his colleagues and fellow Vancouverites Rodney Graham, Ken Lum, and Ian Wallace. His photographic tableaux often take Vancouver's mixture of natural beauty, urban decay, and postmodern and industrial featurelessness as their backdrop.


Wall received his MA from the University of British Columbia in 1970, with a thesis titled Berlin Dada and the Notion of Context. That same year, he stopped making art. With his English wife, Jeannette, whom he had met as a student in Vancouver, and their two young sons, he moved to London to do postgraduate work from 1970 to 1973 at the Courtauld Institute, where he studied with T.J. Clark. Wall was assistant professor at the Nova Scotia College of Art and Design (1974–75), associate professor at Simon Fraser University (1976–87), taught for many years at the University of British Columbia, and lectured at the European Graduate School. He has published essays on Dan Graham, Rodney Graham, Roy Arden, Ken Lum, Stephan Balkenhol, On Kawara, and other contemporary artists.

Artistic practice

Wall experimented with conceptual art while an undergraduate at UBC. He then made no art until 1977, when he produced his first backlit photo-transparencies. Most of these are staged and refer to the history of art and philosophical problems of representation. Their compositions often allude to artists like Diego Velázquez, Hokusai, and Édouard Manet, or to writers such as Franz Kafka, Yukio Mishima, and Ralph Ellison. Presenting his first gallery exhibition in 1978 as an "installation" rather than as a photography show, Wall placed The Destroyed Room in the storefront window of the Nova Gallery, enclosing it in a plasterboard wall. Mimic (1982) typifies Wall's cinematographic style and according to art historian Michael Fried is "characteristic of Wall's engagement in his art of the 1980s with social issues". A 198 × 226 cm colour transparency, it shows a white couple and an Asian man walking towards the camera. The sidewalk, flanked by parked cars and residential and light-industrial buildings, suggests a North American industrial suburb. The woman is wearing red shorts and a white top displaying her midriff; her bearded, unkempt boyfriend wears a denim vest. The Asian man is casual but well-dressed in comparison, in a collared shirt and slacks. As the couple overtake the man, the boyfriend makes an ambiguous but apparently obscene and racist gesture, holding his upraised middle finger close to the corner of his eye, "slanting" his eye in mockery of the Asian man's eyes. The picture resembles a candid shot that captures the moment and its implicit social tensions, but is actually a recreation of an exchange witnessed by the artist. Picture for Wom ... Read full biography

Authors: Jeff Wall David Campany Michael Koetzle
Publisher: Hatje Cantz
Languages: | English |
Original Language:
ISBN13: 9783775741811
ISBN10: 377574181X
Reference Edition:
Edition: None
Edition Statement: None
Illustrations: 230
Literature Country: None
Literature Period: None
Book Format: Hardback
Book Binding: None
Paper: None
Font: None
Pages: 320
Book Weight: 2000
Book Dimensions: 265x265x25.4
Circulation: None
Publication date: Feb. 28, 2017
First Publication Date: None
Publication City/Country: Ostfildern, Germany

Bestsellers in Photographs: Collections

View all ...