Geoff Dyer

An idiosyncratic study of the fine art of photography analyzes the signature styles of Alfred Stieglitz, Paul Strand, Walker Evans, Edward Weston, Dorothea Lange, Diane Arbus, and William Eggleston, describing how each photographer depicted subjects, what the images reveal about the underlying idea, and the power and impact of photography on viewers. Reprint. 12,500 first printing.

The Ongoing Moment

In his last book, YOGA FOR PEOPLE WHO CAN'T BE BOTHERED TO DO IT, Geoff Dyer confessed that not only did he not take pictures in the course of his travels but that he did not own a camera. With characteristic perversity - and trademark originality - THE ONGOING MOMENT is Dyer's unique and idiosyncratic history of photography. Seeking to identify their signature styles Dyer looks at the ways that canonical figures such as Alfred Stieglitz, Paul Strand, Walker Evans, Kertesz, Dorothea Lange, Diane Arbus and William Eggleston have photographed the same scenes and objects (benches, hats, hands, roads). In doing so Dyer constructs a narrative in which those photographers - many of whom never met in their lives - constantly come into contact with each other. Great photographs change the way we see the world; THE ONGOING MOMENT changes the way we look at both. It is the most ambitious example to date of a form of writing that Dyer has made his own: the non-fiction work of art.

I.m. ruzz

I realize this book has found the hearts of many critics, and art/photography pundits but on the whole i found it dry and the equivalent of artistic navel gazing. Having said that, I feel that way about most of the art world so it comes as no surprise, i suppose.

for me, the interesting threads were limited to discussion of the eponymous black coated man that keeps turning up in photos through the ages. The decline of Stieglitz and his role in the photography world and relationship with Georgia O'Keefe.

As well, the womanizing of Edward Weston coupled with the twisted relationship to Stieglitz was compelling stuff. It's rare to see any discussion of the "model" wife, and the tiny competitions between photographers. 

It's a shame the book spent so much time on park benches, fences, hats, and the open road. These may be valid issues for art students, or professors or wanks in a gallery but make for pretty sleep inducing reading.

With characteristic perversity - and trademark originality - THE ONGOING MOMENT is an idiosyncratic history of photography. Seeking to identify their signature styles Dyer looks at the ways that canonical figures such as Alfred Stieglitz, Paul Strand, Walker Evans, Kertesz, Dorothea Lange, Diane Arbus and William Eggleston have photographed the SAME things (benches, hats, hands, roads). In doing so he constructs a narrative in which the same photographers - many of whom never met in their lives - constantly come into contact with each other. Great photographs change the way we see the world; THE ONGOING MOMENT changes the way we look at both. It is the most ambitious example to date of a form of writing that Dyer has made his own; The non-fiction work of art.

The Ongoing Moment

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