{"id":2642,"date":"2016-04-27T12:38:28","date_gmt":"2016-04-27T11:38:28","guid":{"rendered":"http:\/\/christianestruyven.be\/en\/fotografie-1950-2000\/"},"modified":"2026-03-19T19:46:48","modified_gmt":"2026-03-19T18:46:48","slug":"photography-1950-2000","status":"publish","type":"page","link":"https:\/\/www.christianestruyven.be\/en\/photography-1950-2000\/","title":{"rendered":"Photography 1950-2000"},"content":{"rendered":"\r\n
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PHOTOGRAPHY 1950-2000: HOW PHOTOS BECOME ART \u2026<\/h3>
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In 1955, the MOMA, NY, organises the most famous photography exhibition ever: \u201cThe Family of<\/em> Man<\/em>\u201d. These photos are esthetical, empathic and conventional. In the \u201860s, documentary photography becomes rough and brutal, reporting multiple protests against the establishment : the civil rights movement, the war in Vietnam, the marginal culture of junkies. In Germany, Bernd and Hilla Becher develop their conceptual photography. In the \u201870s, Cindy Sherman investigates the human identity with her feminist conceptual photography, while Robert Mapplethorpe produces purely esthetical homo-erotic pictures. In 1976, William Eggleston exhibits his revolutionary intensely coloured photographs at the MOMA. In the \u201880s, Jeff Wall stage-manages his narrative \u201clight-boxes<\/em>\u201d and Hiroshi Sugimoto makes his sober and still photographs on theatres and sees. Meanwhile, in Germany, the famous D\u00fcsseldorf School of photography creates a dominant trend with Gursky, Ruff, Struth and H\u00f6fer. Finally, Rinneke Dijkstra invests herself in psychological portraits of adolescents while exposing human fragility.<\/p>

A story how photography finally made its way to the museums, galleries and auctions houses<\/em><\/p> <\/div>\r\n<\/div>\r\n <\/div>\r\n <\/div>\r\n

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Please contact<\/a> me for more information.t.<\/p> <\/div>\r\n<\/div>\r\n <\/div>\r\n <\/div>\r\n \t <\/div>\r\n\t \r\n\t<\/div>\r\n\t\r\n\t<\/div>\r\n","protected":false},"excerpt":{"rendered":"

PHOTOGRAPHY 1950-2000: HOW PHOTOS BECOME ART \u2026 In 1955, the MOMA, NY, organises the most famous photography exhibition ever: \u201cThe Family of Man\u201d. These photos are esthetical, empathic and conventional. In the \u201860s, documentary photography becomes rough and brutal, reporting multiple protests against the establishment : the civil rights movement, the war in Vietnam, the […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"open","ping_status":"closed","template":"page.php","meta":{"footnotes":""},"class_list":["post-2642","page","type-page","status-publish","hentry"],"builder_content":"\"Photography\n

PHOTOGRAPHY 1950-2000: HOW PHOTOS BECOME ART \u2026<\/h3> \n

In 1955, the MOMA, NY, organises the most famous photography exhibition ever: \u201cThe Family of<\/em> Man<\/em>\u201d. These photos are esthetical, empathic and conventional. In the \u201860s, documentary photography becomes rough and brutal, reporting multiple protests against the establishment : the civil rights movement, the war in Vietnam, the marginal culture of junkies. In Germany, Bernd and Hilla Becher develop their conceptual photography. In the \u201870s, Cindy Sherman investigates the human identity with her feminist conceptual photography, while Robert Mapplethorpe produces purely esthetical homo-erotic pictures. In 1976, William Eggleston exhibits his revolutionary intensely coloured photographs at the MOMA. In the \u201880s, Jeff Wall stage-manages his narrative \u201clight-boxes<\/em>\u201d and Hiroshi Sugimoto makes his sober and still photographs on theatres and sees. Meanwhile, in Germany, the famous D\u00fcsseldorf School of photography creates a dominant trend with Gursky, Ruff, Struth and H\u00f6fer. Finally, Rinneke Dijkstra invests herself in psychological portraits of adolescents while exposing human fragility.<\/p>

A story how photography finally made its way to the museums, galleries and auctions houses<\/em><\/p>\n\n \"Photography <\/a>\n\n \"Photography <\/a>\n\n \"Photography <\/a>\n

Please contact<\/a> me for more information.t.<\/p>","_links":{"self":[{"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/pages\/2642","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/comments?post=2642"}],"version-history":[{"count":5,"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/pages\/2642\/revisions"}],"predecessor-version":[{"id":4445,"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/pages\/2642\/revisions\/4445"}],"wp:attachment":[{"href":"https:\/\/www.christianestruyven.be\/en\/wp-json\/wp\/v2\/media?parent=2642"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}