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Transforming Images: How Photography Complicates the Picture (review)

Transforming Images: How Photography Complicates the Picture (review) Book Review TRANSFORMING IMAGES: HOW PHOTOGRAPHY COMPLICATES THE PICTURE, by Barbara E. Savedoff. Ithaca, New York: Cornell University Press, 2000, 233 pp., $35.00 hardcover. The very title of Barbara Savedoff’s art and other representations. From book invites us on a journey into the insight that this specificity allows, photography’s multiple roles. Photo- she attempts to build a more general graphic images transform their subjects account of photographic transforma- at the same time that they themselves tion. First, she examines the fascina- are the results of transformations. tion in Western painting — a fascina- They also complicate comfortable dis- tion that has been influenced by tinctions between fact and fiction be- legends and literature — with the idea cause the world from which they come that representations are alive or can is complicated. come to life. She begins with paintings This book appears at a time full of that actually illustrate such legends. fear (felt by some) and excitement (felt Then she goes on to paintings where by others) sparked by digital image- the distinction between the “real” and making, in which the culture of pho- the “represented” is ambiguous. One tography is undergoing transforma- such type she calls “gestural http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Journal of Aesthetic Education University of Illinois Press

Transforming Images: How Photography Complicates the Picture (review)

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Publisher
University of Illinois Press
Copyright
Copyright © 2003 Board of Trustees of the University of Illinois.
ISSN
1543-7809

Abstract

Book Review TRANSFORMING IMAGES: HOW PHOTOGRAPHY COMPLICATES THE PICTURE, by Barbara E. Savedoff. Ithaca, New York: Cornell University Press, 2000, 233 pp., $35.00 hardcover. The very title of Barbara Savedoff’s art and other representations. From book invites us on a journey into the insight that this specificity allows, photography’s multiple roles. Photo- she attempts to build a more general graphic images transform their subjects account of photographic transforma- at the same time that they themselves tion. First, she examines the fascina- are the results of transformations. tion in Western painting — a fascina- They also complicate comfortable dis- tion that has been influenced by tinctions between fact and fiction be- legends and literature — with the idea cause the world from which they come that representations are alive or can is complicated. come to life. She begins with paintings This book appears at a time full of that actually illustrate such legends. fear (felt by some) and excitement (felt Then she goes on to paintings where by others) sparked by digital image- the distinction between the “real” and making, in which the culture of pho- the “represented” is ambiguous. One tography is undergoing transforma- such type she calls “gestural

Journal

The Journal of Aesthetic Education – University of Illinois Press

Published: May 20, 2003

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