Enter the characters you see below Sorry, we just need to make sure you’re not a robot. Enter the characters you see below Sorry, we just need to make sure you’re not a robot. Goodreads helps you keep track pleasures and terrors of domestic comfort essay books you want to read. Thanks for telling us about the problem.
Not the book you’re looking for? Kitchens and bedrooms, couples and children, the expectations and anxieties of American domestic life are laid before us in this lively book of pictures by contemporary American photographers. By turns hilarious and unsettling, this unconventional family album offers rich if conflicting information about the current state of the old relationship between the American Dream and the American Nightmare. The work of more than 50 photographers is represented including Tina Barney, Ellen Brooks, William Eggleston, Mary Frey, Lee Friedlander, Nan Goldin, Nic Nicosia, Nicholas Nixon, Lorie Novak, Cindy Sherman, Sage Sohier, Joel Sternfeld, Larry Sultan, Carrie Mae Weems, and Neil Winokur. To see what your friends thought of this book, please sign up. This book is not yet featured on Listopia. A fairly interesting collection of domestic photography, though I have to admit – I was expecting a little more existential dread than I got.
Nice collection of sinister and not so sinister photos of domestic scenes. There are no discussion topics on this book yet. Just a moment while we sign you in to your Goodreads account. This is a digitized version of an article from The Times’s print archive, before the start of online publication in 1996. To preserve these articles as they originally appeared, The Times does not alter, edit or update them.
Or perhaps he is holding up the ceiling, preventing it from squashing him and everything else in the disheveled room. It is a kind of psychological and sociological war zone, the battles no less intense for being waged bloodlessly in the trenches of the bedroom. The fire of a barbecue in a backyard is a conflagration in a photograph by Mary Kocol. Corcia’s magnificently stagy photographs, a man stands before an open refrigerator at night. The 80’s also witnessed a deep split in the field of photography.
On the one hand were the modernists who upheld the notion of documentary or candid images. For the photography department of the Modern, such a premise is groundbreaking because, under its former director, John Szarkowski, post-modernism went virtually unacknowledged. Yet to strengthen the links between the modernist and post-modernist camps, Mr. Galassi must glide over certain key differences that diminish the significance of the post-modernists. The large scale of post-modern photography, as in the works of Barbara Kruger, an artist conspicuous by her absence from the show, is underemphasized presumably to put every work in the exhibition on roughly equal footing.