MARC Record from harvard_bibliographic_metadata

LEADER: 03862cam a2200541 i 4500
001 013461744-4
005 20130923085608.0
008 120713s2012 nyua b 001 0 eng c
010 $a 2012025255
015 $aGBB261744$2bnb
016 7 $a016111104$2Uk
020 $a9781588394736 (hc: Metropolitan Museum of Art)
020 $a1588394735 (hc: Metropolitan Museum of Art)
020 $a9780300185010 (hc: Yale University Press)
020 $a0300185014 (hc: Yale University Press)
035 0 $aocn797975278
035 0 $aocn852377021
040 $aNNFr/DLC$beng$erda$cDLC$dYDX$dBTCTA$dERASA$dBDX$dUKMGB$dOCLCO$dYDXCP$dOUN$dMOF$dMUU$dHBS$dMH-H
042 $apcc
050 00 $aTR148$b.F56 2012
082 00 $a771$223
100 1 $aFineman, Mia,$eauthor.
245 10 $aFaking it :$bmanipulated photography before Photoshop /$cMia Fineman.
264 1 $aNew York :$bMetropolitan Museum of Art ;$cc2012.
264 2 $aNew Haven :$bDistributed by Yale University Press,$c2012.
300 $axvi, 280 pages :$billustrations (some color) ;$c28 cm
336 $atext$2rdacontent.
336 $astill image$2rdacontent.
337 $aunmediated$2rdamedia.
338 $avolume$2rdacarrier.
500 $a"This catalogue is published in conjunction with Faking It: Manipulated Photography before Photoshop, on view at The Metropolitan Museum of Art, New York, from October 11, 2012, through January 27, 2013; at The National Gallery of Art, Washington, D.C., from February 17 through May 5, 2013; and at The Museum of Fine Arts, Houston from June 2 through August 25, 2013."--Title page verso.
520 $a"It is a long-held truism that 'the camera does not lie'. Yet, as Mia Fineman argues in this illuminating volume, that statement contains its own share of untruth. While modern technological innovations, such as Adobe's Photoshop software, have accustomed viewers to more obvious levels of image manipulation, the practice of "doctoring" photographs has in fact existed since the medium was invented. In "Faking It", Fineman demonstrates that today's digitally manipulated images are part of a continuum that begins with the earliest years of photography, encompassing methods as diverse as overpainting, multiple exposure, negative retouching, combination printing, and photomontage. Among the book's revelations are previously unknown and never before published images that document the acts of manipulation behind two canonical works of modern photography: one blatantly fantastical (Yves Klein's "Leap into the Void" of 1960); the other a purportedly unadulterated record of a real place in time (Paul Strand's "City Hall Park" of 1915). Featuring 160 captivating pictures created between the 1840s and 1990s in the service of art, politics, news, entertainment, and commerce, "Faking It" provides an essential counterhistory of photography as an inspired blend of fabricated truths and artful falsehoods."--Publisher's website.
504 $aIncludes bibliographical references (pages 268-269) and index.
505 00 $tDirector's foreword --$tSponsor's statement --$tPicture perfect --$tArtifice in the name of art --$tPolitics and persuasion --$tNovelties and amusements --$tPictures in print --$tMind's eye --$tProtoshop.
650 0 $aTrick photography$vExhibitions.
650 0 $aPhotography$xSpecial effects$vExhibitions.
650 0 $aPhotography, Handworked$vExhibitions.
650 2 $aPhotography.
655 7 $aExhibition catalogs.$2fast
700 1 $aCampbell, Thomas P.,$ewriter of added text.
700 1 $aYap, Maria,$ewriter of added text.
710 2 $aMetropolitan Museum of Art (New York, N.Y.)
710 2 $aNational Gallery of Art (U.S.)
710 2 $aMuseum of Fine Arts, Houston.
752 $aUnited States$bNew York$dNew York.
899 $a415_565082
988 $a20121113
906 $0OCLC