Aaron Siskind 100

Overview

Siskind’s style of gesture and nuance, a new form of visual calligraphy, dominated his work for the next forty years, and ran parallel to the developments of his colleagues, the abstract expressionists. Siskind was not only a critical figure in modern photography, but he also influenced the work of painters of that period, including Willem De Kooning, Franz Kline, and Robert Rauschenberg. Aaron Siskind 100, the book and exhibition, honors the legacy of this legendary artist through six decades of an incredible ...
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Overview

Siskind’s style of gesture and nuance, a new form of visual calligraphy, dominated his work for the next forty years, and ran parallel to the developments of his colleagues, the abstract expressionists. Siskind was not only a critical figure in modern photography, but he also influenced the work of painters of that period, including Willem De Kooning, Franz Kline, and Robert Rauschenberg. Aaron Siskind 100, the book and exhibition, honors the legacy of this legendary artist through six decades of an incredible photographic journey.
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Editorial Reviews

The New York Times
[Siskind's] way of converting nearly two-dimensional surfaces into abstractions of black-and-white tones, and his semiotic interest in illegible human markings, produced pictures with a sense of conviction and inevitability that few artists achieve. The 100 photographs reproduced here in classic, one-to-a-page fashion, with barely a hint of text, speak for themselves and speak well. — Andy Grundberg
Library Journal
Capturing fragments of street ephemera, the calligraphic rhythms of oil puddles, or the gentle undulations of rock formations, Siskind's photographs follow the tradition of 1930s documentary photography, while heralding the nonobjective distillations of the New York School. Published to commemorate the artist's 100th birthday and to accompany a series of traveling exhibitions, this book offers Siskind's work with no interpretive intrusions except his own succinctly expressed intent, laid out in his 1950 "Credo." Following his words is a catalog of black-and-white plates that fluidly moves from one subject grouping to the next. This is perhaps the best way to experience Siskind's work, which is meant to be self-contained though linked as in a series and a record of experience without the buzzing distraction of critical analysis. The book presents both well-known and unknown photographs, and their presentation offers powerful visual resonance-the perfect homage to the laconic enthusiast of abstraction. Recommended for all libraries focusing on modern and contemporary American art photography.-Savannah Schroll, formerly with Smithsonian Inst. Libs., Washington, DC Copyright 2003 Reed Business Information.
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Product Details

  • ISBN-13: 9781576871942
  • Publisher: powerHouse Books
  • Publication date: 10/28/2003
  • Pages: 210
  • Product dimensions: 10.06 (w) x 13.18 (h) x 1.05 (d)

Meet the Author

One of the most important and influential artists working with photography during the twentieth century, Aaron Siskind is being celebrated on the occasion of his 100th birthday with the publication of this elegant and comprehensive monograph, bringing together both well-known and never-before-published images. Siskind’s prolific career spanned six decades and left its mark on both photography and painting.

In 1932, at age twenty-nine, Siskind began his career as a photographer and spent the next nine years under the auspices of the New York Photo League working on social documentary photography. Around 1940, Siskind made a shift toward abstraction and entered an art world populated by painters and sculptors. During the course of the decade, Siskind began to explore a vision that depended on the shallow plane, and utilized delicate, minimal designs. “For the first time in my life subject matter, as such, had ceased to be of primary importance,” Siskind explained. “Instead I found myself involved in the relationships of these objects, so much so that the pictures turned out to be deeply moving and personal experiences.” The photograph had become the object.

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