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The politics of media: Ben Shahn and photography.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The politics of media: Ben Shahn and photography./
作者:	Katzman, Laura R.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1997,
面頁冊數:	381 p.
附註:	Source: Dissertations Abstracts International, Volume: 59-10, Section: A.
Contained By:	Dissertations Abstracts International59-10A.
標題:	American studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9816896
ISBN:	9780591682168

The politics of media: Ben Shahn and photography.
Katzman, Laura R.

The politics of media: Ben Shahn and photography. - Ann Arbor : ProQuest Dissertations & Theses, 1997 - 381 p.

Source: Dissertations Abstracts International, Volume: 59-10, Section: A.

Thesis (Ph.D.)--Yale University, 1997.

This item must not be sold to any third party vendors.

This dissertation concerns Ben Shahn's photography--how the artist used photography as a sociological tool to examine the lives of working-class peoples, as well as how he employed photographs as source and inspiration for his art in other media. Although Shahn's photography has long been acknowledged as formative to his art and social vision, it has nonetheless been treated cursorily and unevenly by biographers. This thesis examines why the photographs have received such limited attention, deconstructing the making of a particular artistic reputation in the process. It looks at the biases surrounding the relationship between painting and photography, and the critical issues raised by the pairing of the two media in Shahn's work. Shahn's role in this situation is also considered, as he privileged content over technique, seemingly uninterested in photography as art. Close examination of the artist's photographic oeuvre/archive challenges his casual views, revealing aesthetic discrimination in images that transcend ordinary snapshots. Shahn's New York photographs are discussed as an exemplary body of work that embodies attitudes and constructs meaning about ethnic immigrant life and urban conditions in the Great Depression. His use of photography is further considered vis-a-vis his photo-source archive, which provides insight into his relationship to photography, mass media, and to issues of appropriation and copying. Finally, this study interprets how Shahn commented upon photography in his temperas and graphics that address the nature of representation and the documentary tradition. It is concerned with how Shahn's photographs function aesthetically, autobiographically, and socio-historically, and with the larger meanings of photographic usage. Given that Shahn embraced photography at a time when his painting already conveyed a populist political philosophy with great effectiveness and urgency, such a study illuminates the broader cultural appeal of documentary expression so central to New Deal culture.

ISBN: 9780591682168Subjects--Topical Terms:

2122720
American studies.
Subjects--Index Terms:

Great Depression

The politics of media: Ben Shahn and photography.
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500 $a Publisher info.: Dissertation/Thesis.
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520 $a This dissertation concerns Ben Shahn's photography--how the artist used photography as a sociological tool to examine the lives of working-class peoples, as well as how he employed photographs as source and inspiration for his art in other media. Although Shahn's photography has long been acknowledged as formative to his art and social vision, it has nonetheless been treated cursorily and unevenly by biographers. This thesis examines why the photographs have received such limited attention, deconstructing the making of a particular artistic reputation in the process. It looks at the biases surrounding the relationship between painting and photography, and the critical issues raised by the pairing of the two media in Shahn's work. Shahn's role in this situation is also considered, as he privileged content over technique, seemingly uninterested in photography as art. Close examination of the artist's photographic oeuvre/archive challenges his casual views, revealing aesthetic discrimination in images that transcend ordinary snapshots. Shahn's New York photographs are discussed as an exemplary body of work that embodies attitudes and constructs meaning about ethnic immigrant life and urban conditions in the Great Depression. His use of photography is further considered vis-a-vis his photo-source archive, which provides insight into his relationship to photography, mass media, and to issues of appropriation and copying. Finally, this study interprets how Shahn commented upon photography in his temperas and graphics that address the nature of representation and the documentary tradition. It is concerned with how Shahn's photographs function aesthetically, autobiographically, and socio-historically, and with the larger meanings of photographic usage. Given that Shahn embraced photography at a time when his painting already conveyed a populist political philosophy with great effectiveness and urgency, such a study illuminates the broader cultural appeal of documentary expression so central to New Deal culture.
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