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dc.contributor.authorPurcell, Kerry William
dc.date.accessioned2015-06-16T15:21:23Z
dc.date.available2015-06-16T15:21:23Z
dc.date.issued2003
dc.identifier.citationPurcell , K W 2003 , ' Photographie ' Baseline Magazine , no. 41 .
dc.identifier.otherPURE: 672213
dc.identifier.otherPURE UUID: 9cd0fb07-47c7-436f-80fd-bc95ff75c89f
dc.identifier.urihttp://hdl.handle.net/2299/16053
dc.description.abstractIn 1925, the critic, poet, and one of the founders of Surrealism, Andre Breton, posed the question: when would ‘all the books that are worth anything stop being illustrated with drawings and appear only with photographs?’ A few short years after this statement, the photographic image had established itself as one of the most provocative, poetic, and radical forms of representation in modern society. A plethora of groundbreaking exhibitions, books and publicity, the work of some of the most influential figures in history of photography, ushered in the creative flowering of the medium across Europe. Unquestionably the increasingly effective presence of photography was tied to the emergence of these new recruits and their passionate conviction regarding its creative worthen
dc.language.isoeng
dc.relation.ispartofBaseline Magazine
dc.titlePhotographieen
dc.contributor.institutionSchool of Creative Arts
dc.contributor.institutionSocial Sciences, Arts & Humanities Research Institute
dc.contributor.institutionArt and Design
dc.contributor.institutionTheorising Visual Art and Design
dc.relation.schoolSchool of Creative Arts
dcterms.dateAccepted2003
rioxxterms.typeOther
herts.preservation.rarelyaccessedtrue


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