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Seismic Shift: Lewis Baltz, Joe Deal and California Landscape Photography, 1944 - 1984, by Colin Westerbeck
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The now-legendary 1975 New Topographics show represented a true ''seismic shift'' in American landscape photography, moving past the romantic legacy of Ansel Adams and Edward Weston to the minimalist-influenced work typified by Lewis Baltz and Joe Deal. This catalog of 2011's Seismic Shift exhibition offers a comprehensive narrative of California photographic history made by the 43 featured artists; it includes 58 reproductions (mostly black-and-white) and essays by curator Colin Westerbeck, photographic historian Susan Laxton and regionalist Jason Weems. The exhibition is one of over 60 funded by the Getty Research Institute's initiative looking at Southern California art 1945-1980, called Pacific Standard Time.
- Sales Rank: #2629383 in Books
- Published on: 2011-11-15
- Original language: English
- Number of items: 1
- Dimensions: .0" h x .0" w x .0" l, .0 pounds
- Binding: Paperback
- 96 pages
Most helpful customer reviews
1 of 1 people found the following review helpful.
A good overview of the way of seeing landscape
By A photographer
The basis for this book concerns how the "New Topographics: Photographs of a Man-Altered Landscape" show of 1975 heralded a change in the way photographers began to address the landscape, principally involving the California school of landscape photography. Following the show, landscape photography embraced a wider range of subject matter and no longer primarily concerned itself with scenic, "pretty" pictures. Well, that's the basis anyway. Of course, scenic photography never disappeared and the classic landscape photograph is still healthy. But we can credit the New Topographics show for a wider acceptance of what constitutes the landscape as subject. The Romanticized view epitomized by Ansel Adams is no longer the dominant art form in landscape photography. Context has eclipsed traditional formality.
Much of the work of Robert Adams and the late Lewis Baltz, two of the original photographers involved in the show, has impressed me for some time. The simplicity of their photographs can be quite beautiful in their straightforward way. I'm not as familiar with the late Joe Deal's work and frankly I'm not as impressed. Of the 8 original photographers participating in the show, Stephen Shore is the only other photographer whose work is that familiar to me. Shore has influenced my own work considerably and he is one of my favorite photographers working today. "Seismic Shift" gives a pretty decent review of the California school of landscape photography and its evolution. It also gives good insight into the philosophies of the photographers involved in the original New Topographics show. While I very much admire the work presented here, I've always felt some element was often lacking in these types of pictures. "Seismic Shift" made me realize what that element is--a sense of humor. Artist/photographer Ed Ruscha was originally considered for an invitation to show his work in the exhibit but the other photographers nixed the idea. Since Ruscha's work often involves the use of humor, he was omitted. In fact, the book quotes Joe Deal as objecting to Ruscha's sense of "irony". Later work by both Adams and Baltz have lacked both that irony and humor while still maintaining a high degree of technical quality and vision. However, Stephen Shore's work often contains subtle irony and frequent humorous elements--elements that, in my opinion, make his work feel more complete.
In my opinion, the emphasis on context is also a weak point in this type of photography. Frankly, I don't really care what point the photographer trying to make with his or her pictures. I have a good imagination and I want to use it to form my own story to go along with the picture. In my opinion that distinguishes good art--to touch someone else's imagination and light a spark.
"Seismic Shift" is not a definitive account. Much has evolved in landscape photography in the 40 years following the New Topographics show. The book is a good introduction to the changes in aesthetics and philosophy involved in landscape photography.
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