MARC Record from Library of Congress

LEADER: 04054cam a22005297i 4500
001 2014472561
003 DLC
005 20150627082028.0
008 141201s2014 enka b 000 0 eng d
010 $a 2014472561
015 $aGBB494099$2bnb
016 7 $a016856941$2Uk
020 $a9781849763202$q(pbk.)
020 $a1849763208$q(pbk.)
035 $a(OCoLC)ocn890162823
040 $aUKMGB$beng$cUKMGB$erda$dOCLCO$dERASA$dYDXCP$dYNK$dCDX$dOCLCQ$dVVPCS$dBTCTA$dOCLCF$dNHM$dUKTTE$dDLC
042 $alccopycat
050 00 $aTR820.6$b.C64 2014
082 04 $a778.9935502$223
245 00 $aConflict, time, photography /$c[edited by Simon Baker and Shoair Mavlian; with contributions by David Alan Mellor, Simon Bolitho, Megan Bullock, Minnie Scott, Corinne Scurr].
264 1 $aLondon :$bTate Publishing,$c2014.
300 $a239 pages :$billustrations (some color) ;$c26 cm
336 $atext$btxt$2rdacontent
336 $astill image$bsti$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
504 $aIncludes bibliographical references (pages 236-239).
500 $aCatalog published on the occasion of the exhibition Conflict, time, photography at The Eyal Ofer Galleries, Tate Modern, Britain, 26 November 2014-15 March 2015.
520 $aFrom the seconds after a bomb is detonated to a former scene of battle years after a war has ended, this moving exhibition focuses on the passing of time, tracing a diverse and poignant journey through over 150 years of conflict around the world, since the invention of photography. In an innovative move, the works are ordered according to how long after the event they were created from moments, days and weeks to decades later. Photographs taken seven months after the fire bombing of Dresden are shown alongside those taken seven months after the end of the First Gulf War. Images made in Vietnam 25 years after the fall of Saigon are shown alongside those made in Nakasaki 25 years after the atomic bomb. The result is the chance to make never-before-made connections while viewing the legacy of war as artists and photographers have captured it in retrospect. The immediate trauma of war can be seen in the eyes of Don McCullin's Shell-shocked US Marine 1968, while the destruction of buildings and landscapes are documented by Simon Norfolk's Afghanistan: Chronotopia 2001. Different conflicts will also reappear from multiple points in time throughout the exhibition. The Second World War for example is addressed in Jerzy Lewczynski's 1960 photographs of the Wolf's Lair / Adolf Hitler's War Headquarters, Shomei Tomatsu's images of objects found in Nagasaki, Kikuji Kawada's epic project The Map made in Hiroshima in the 1960s, Michael Schmidt's Berlin streetscapes from 1980 and Nick Waplington's 1993 close-ups of cell walls from a Prisoner of War camp in Wales. The exhibition is staged to coincide with the 2014 centenary and concludes with new and recent projects by British, German, Polish and Syrian photographers which reflect on the First World War a century after it began.--Tate website.
650 0 $aWar photography.
650 0 $aWar in art.
650 0 $aTime in art.
650 0 $aHistoric sites in art.
650 7 $aHistoric sites in art.$2fast$0(OCoLC)fst01903470
650 7 $aTime in art.$2fast$0(OCoLC)fst01151107
650 7 $aWar in art.$2fast$0(OCoLC)fst01170504
650 7 $aWar photography.$2fast$0(OCoLC)fst01170549
700 1 $aBaker, Simon,$d1972-$eeditor.
700 1 $aMavlian, Shoair,$eeditor.
700 1 $aMellor, David,$econtributor.
700 1 $aBolitho, Simon,$econtributor.
700 1 $aBullock, Megan,$econtributor.
700 1 $aScott, Minnie,$econtributor.
700 1 $aScurr, Corinne,$econtributor.
710 2 $aTate Britain (Gallery),$ehost institution.
856 42 $3Contributor biographical information$uhttp://www.loc.gov/catdir/enhancements/fy1507/2014472561-b.html
856 42 $3Publisher description$uhttp://www.loc.gov/catdir/enhancements/fy1507/2014472561-d.html