Appropriation (Continued)
Postmodernist territory, 46
readymades, 46
rephotography and, 235
response to cultural surroundings, 47
return to painting, 47
shift in practice, 46
slogans, 47
Untitled Film Stills,46
use of found objects, 46
Victor Burgin and, 179
APRA,seeAmerican Revolutionary Popular Alliance
Araki, Nobuyoshi, 49–51
artificiality, 49
biography, 50
camera, 49
censorship, 49
Cibachrome, 49
Edo period painting, 50
erotic imagery, 49
fashion photography, 50
flower studies, 50
following, 50
further reading, 51
group exhibitions, 50
individual exhibitions, 50
interest in urban areas, 50
Japanese, 49
kinbaku, 50
paradoxical work of, 49
photo-diarists, 50
photo-maniac, 49
preoccupation with female sexuality, 49
selected works, 50, 51
Taschen, 50
Tokyo Love,50
worldwide notoriety, 49
Arbus, Diane, 51–56
American, 51–54
August Sander and, 52
biography, 54
ceremonies, 53
commercial career, 52
Diane Arbus Revelations,52
discontent with prevailing photographic conventions, 51
emphasis on portraiture, 52
Esquiremagazine, 52
famous subjects, 52
fine art aesthetics, 51
first commissioned photo essay, 52
further reading, 54–56
gap between intention and effect, 52
group exhibitions, 54
Guggenheim Grant, 53
Harper’s Bazaar,53
home for mentally retarded, 53
iconic images of 1960s, 51
individual exhibitions, 54
interest in subcultures, 53
Jasper Johns and, 53
portable 35 mm cameras, 51
printing with borders, 53
prosaic subjects, 52
selected works, 54
self-conscious creativity, 51self-produced portfolio, 53
shift in documentary approach, 52
shocking portraits, 51
snapshot aesthetic, 51
social landscape, 51
suicide of, 53
symptoms and moments, 53
typologies influencing, 52
voyeuristic iconography, 53
Archaeological photography, 33
Architectural photography, 56–63
academy professorship, 61
accentuation of building, 57
adaptation by commercial photography studios, 59
architects-in-training and, 56
architecture as propaganda tool, 59
Arts-and-Crafts movement, 57, 58
Beaux Arts architect, 57
Becher class, 61
bird’s eye views of urban places, 61
Charles Rennie Mackintosh and, 57
city scape as subject, 60
collaborations among photographers and architects, 60
commercial application, 56
competition, 61
Concept Art groups, 60
concept, 61
Conceptual Art and, 61
conventions about depicting modern architecture, 58
criticism of politics, 56
cross-fertilization, 58
cross-over artists in, 60
definition of, 56
destruction of Hiroshima and Nagasaki, 59
destruction of World War II, 59
Deutsche Werkbund, 58
dissemination of ideas, 58
as documentation, 57
emergence of Nazi regime, 59
Eugene Atget and, 56
European architects, 58
fame of architect and, 62
further reading, 62
Gerhard Richter and, 61
Germanfotoformgroup, 60
German painting movement, 58
Global Architecturemagazine, 61
Henry Hobson Richardson and, 57
historic buildings, 60
incorporation of into curricula, 62
inventories of buildings, 60
Julius Shulman and, 60
modernism and, 59
need for in magazines, 62
panoramas of motorway crossings, 61
Parisian avant-gardists, 56
Pop Art and, 61
postwar reconstruction, 60
profession of, 57
propagandists, 57
Prussian health insurance, 57
as reference for manufacturing industries, 56
small format cameras, 57
social activism and, 59
straight photography as fine art, 58INDEX
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