160:, documented built and natural landscapes in America, often capturing the tension between natural scenery and the mundane structures of post-war America: parking lots, suburban homes, crumbling coal mines. The photographs, stark and documentary, are often devoid of human presence. Jenkins described the images as "neutral" in style, "reduced to an essentially topographic state, conveying substantial amounts of visual information but eschewing entirely the aspects of beauty, emotion, and opinion".
281:, but the new generation was turning away from the approach of these forebears. This was illustrated by the subject matter that the New Topographics chose as well as their commitment to casting a somewhat ironic or critical eye on what American society had become. They all depicted urban or suburban realities under changes in an allegedly detached approach. In most cases, they gradually revealed themselves as coming from rather critical vantage points, especially Robert Adams, Baltz, and Deal.
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in
Germany. Since the late 1950s the Bechers had been photographing various obsolete structures, mainly post-industrial carcasses or carcasses-to-be, in Europe and America. They first exhibited them in series, as "typologies", often shown in grids, under the title of "Anonymous Sculptures." They were
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Each photographer in the New
Topographics exhibition was represented by ten prints. All but Stephen Shore worked in black and white. The prints were in a 20 cm × 25 cm (8 in × 10 in) format except for Joe Deal (32 cm × 32 cm), Gohlke (24 cm × 24 cm –
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and film. A notable element of the show was that the artists were, or would be, linked with higher education as students, professors, or both—a change from the preceding generations. The shift from craft or self-teaching to academia had somewhat been started by photographers such as
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In his introduction to the catalogue, Jenkins defined the common denominator of the show as "a problem of style:" "stylistic anonymity", an alleged absence of style. Jenkins mentioned
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Although the eight photographers included in the original exhibition make up the core of the New
Topographics school, photographers such as Laurie Brown have been tied to the school.
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close to 8 in × 10 in though obviously square rather than rectangular), and the
Bechers with typical European (for the time) 30 cm × 40 cm prints.
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132:) from October 1975 to February 1976. The show, curated by William Jenkins, had a lasting impact on aesthetic and conceptual approaches to American
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The exhibition was recreated in various locations: in 1981, six years after its original presentation, it was shown in reduced form at the
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Technically, half the photographers were working with 8 in × 10 in (20 cm × 25 cm) large format
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Archives of the George
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in the 1960s as one of the inspirations for the exhibition and the photographers it features (except for the
Bechers).
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film that the photographer printed on 8 in × 10 in paper. Only Baltz and Wessel were using regular 35 mm
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Catalogue. Rochester, NY: International Museum of
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For "New
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in Tucson. "New
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was a groundbreaking exhibition of contemporary landscape photography held at the
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358:"New Topographics: photographs that find beauty in the banal"
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122:"New Topographics: Photographs of a Man-Altered Landscape"
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452:"Joe Deal: The Fault Zone & Other Work 1976–1986"
382:Robert Adams: Landscapes of Harmony and Dissonance
16:Landscape photography exhibition held in New York
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597:Review of a rehanging of the original exhibition
136:. The New Topographics photographers, including
224:'s work, especially the numerous artist books (
249:; those who were not were using either square
398:First of six pages of a Lewis Baltz checklist
308:. In 2011 the exhibition was on view at the
288:Gallery, Bristol, UK, under the auspices of
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253:(Deal, Gohlke), or in the case of Baltz,
109:Learn how and when to remove this message
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128:'s International Museum of Photography (
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45:Please improve this article by adding
562:Sims, Delphine (17 September 2016).
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200:He also invited the German couple,
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510:New Zealand photography collected
428:"New Topographics – Smarthistory"
316:, Netherlands, and later at the
306:Los Angeles County Museum of Art
304:in Rochester, New York, and the
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415:Stephen Shore, Photographer
204:, who were teaching at the
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616:1975 in New York (state)
595:New Topographics (Redux)
507:McCredie, Athol (2015).
206:Kunstakademie Düsseldorf
631:Photography exhibitions
318:Bilbao Fine Arts Museum
384:", exhibition notice,
238:(1967), etc.) that he
202:Bernd and Hilla Becher
146:Bernd and Hilla Becher
34:relies excessively on
546:Traveling Exhibitions
454:. Robert Mann Gallery
310:Nederlands Fotomuseum
134:landscape photography
478:George Eastman House
402:George Eastman House
302:George Eastman House
264:and high-definition
227:26 Gasoline Stations
209:soon adopted by the
126:George Eastman House
417:", billcharles.com.
356:(8 February 2010).
232:Various Small Fires
130:Rochester, New York
339:Jenkins, William.
58:"New Topographics"
524:978-0-9941041-4-4
198:Henry Wessel, Jr.
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279:Minor White
275:Ansel Adams
190:John Schott
174:Lewis Baltz
142:Lewis Baltz
621:1975 works
605:Categories
564:"The Edge"
483:3 November
458:3 November
437:2022-06-23
367:2018-09-23
327:References
320:in Spain.
255:35 mm
213:movement.
99:April 2011
69:newspapers
36:references
533:906122347
386:The Getty
314:Rotterdam
286:Arnolfini
576:20 April
571:UCR Arts
234:(1964),
230:(1962),
178:Joe Deal
548:at the
515:Te Papa
404:, 2002.
388:, 2006.
270:cameras
164:Details
83:scholar
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