Women Photographers and Feminist Aestheticsmakes the case for a feminist aesthetics in photography by analysing key works of twenty-two women photographers, including cis- and trans-woman photographers.
Claire Raymond provides close readings of key photographs spanning the history of photography, from nineteenth-century Europe to twenty-first century Africa and Asia. She offers original interpretations of well-known photographers such as Diane Arbus, Sally Mann, and Carrie Mae Weems, analysing their work in relation to gender, class, and race. The book also pays close attention to the way in which indigenous North Americans have been represented through photography and the ways in which contemporary Native American women photographers respond to this history.
Developing the argument that through aesthetic force emerges the truly political, the book moves beyond polarization of the aesthetic and the cultural. Instead, photographic works are read for their subversive political and cultural force, as it emerges through the aesthetics of the image.
This book is ideal for students of Photography, Art History, Art and Visual Culture, and Gender.
Constructing Imperial Berlin is the first book to critically assess, contextualize, and frame urban and architectural photographs of that era. Berlin, as it was pronounced Germany’s capital in 1871, was fraught with questions that had previously beset Paris and London. How was urban expansion and transformation to be absorbed? What was the city’s understanding of its comparably short history? Given this short history, how did it embody the idea of a capital? A key theme of this book is the close interrelation of the city’s rapid physical metamorphosis with repercussions on promotional and critical narratives, the emergence of groundbreaking photographic technologies, and novel forms of mass distribution.
Providing a rare analysis of this significant formative era, Miriam Paeslack shows a city far more complex than the common clichés as a historical and aspiring place suggest. Imperial Berlin emerges as a modern metropolis, only half-heartedly inhibited by urban preservationist concerns and rather more akin to North American cities in their bold industrialization and competing urban expansions than to European counterparts.
Comprising an impressive range of essays and interviews by experts and scholars from across the globe, this book examines the medium’s history, its central issues and emerging trends, and its much-discussed future. The collected essays and interviews explore the current debates surrounding the photograph as object, art, document, propaganda, truth, selling tool, and universal language; the perception of photography archives as burdens, rather than treasures; the continual technological development reshaping the field; photography as a tool of representation and control, and more.
One of the most comprehensive volumes of its kind, this companion is essential reading for photographers and historians alike.
Fully cross-referenced and in an A-Z format, this is an accessible and engaging introductory guide.
Individual chapters cover:Key debates in photographic theory and history Documentary photography and photojournalism Personal and popular photography Photography and the human body Photography and commodity culture Photography as art
This revised and updated fifth edition includes:New case studies on topics such as: materialism and embodiment, the commodification of human experience, and an extended discussion of landscape as genre. 98 photographs and images, featuring work from: Bill Brandt, Susan Derges, Rineke Dijkstra, Fran Herbello, Hannah Höch, Karen Knorr, Dorothea Lange, Chrystel Lebas, Susan Meiselas, Lee Miller, Martin Parr, Ingrid Pollard, Jacob Riis, Alexander Rodchenko, Andres Serrano, Cindy Sherman and Jeff Wall. Fully updated resource information, including guides to public archives and useful websites. A full glossary of terms and a comprehensive bibliography.
Contributors: Michelle Henning, Patricia Holland, Derrick Price, Anandi Ramamurthy and Liz Wells.
From its inception in the nineteenth century, photography has instigated a series of theoretical debates. In this new text, Jae Emerling therefore argues that the most insightful way to approach the histories of photography is to address simultaneously the key events of photographic history alongside the theoretical discourse that accompanied them.
While the nineteenth century is discussed, the central focus of the text is on modern and contemporary photographic theory. Particular attention is paid to key thinkers, such as Baudelaire, Barthes and Sontag. In addition, the centrality of photography to contemporary art practice is addressed through the theoretical work of Allan Sekula, John Tagg, Rosalind Krauss, and Vilém Flusser. The text also includes readings of many canonical photographers and exhibitions including: Atget, Brassai, August Sander, Walker Evans, The Family of Man, Diane Arbus, Lee Friedlander, Cindy Sherman, Bernd and Hilla Becher, Sebastaio Salgado, Jeff Wall, and others.
In addition, Emerling provides close readings of key passages from some major theoretical texts. These glosses come between the chapters and serve as a conceptual line that connects them. Glosses include:
Roland Barthes, "The Rhetoric of the Image" (1964)
Susan Sontag, Regarding the Pain of Others (2002)
Michel Foucault on the archive (1969)
Walter Benjamin, "Little History of Photography" (1931)
Vilém Flusser, Towards a Philosophy of Photography (1983)
A substantial glossary of critical terms and names, as well as an extensive bibliography, make this the ideal book for courses on the history and theory of photography.
Photography is also unstoppably developmental, both at the level of the individual image and of medium. The photograph moves through time, in search of other "kin," some of which may be visual, but others of which may be literary, architectural, philosophical, or literary. Finally, photography develops with us, and in response to us. It assumes historically legible forms, but when we divest them of their saving power, as we always seem to do, it goes elsewhere.
The present volume focuses on the nineteenth century and some of its contemporary progeny. It begins with the camera obscura, which morphed into chemical photography and lives on in digital form, and ends with Walter Benjamin. Key figures discussed along the way include Nicéphore Niépce, Louis Daguerre, William Fox-Talbot, Jeff Wall, and Joan Fontcuberta.
Photography has been around for nearly two centuries, but we are no closer to understanding what it is. For some people, a photograph is an optically accurate impression of the world, for others, it is mainly a way of remembering people and places. Some view it as a sign of bourgeois life, a kind of addiction of the middle class, whilst others see it as a troublesome interloper that has confused people's ideas of reality and fine art to the point that they have difficulty even defining what a photograph is. For some, the whole question of finding photography's nature is itself misguided from the beginning.
This provocative second volume in the Routledge The Art Seminar series presents not one but many answers to the question what makes a photograph a photograph?
Photography and Its Origins reflects on this interest in photography’s beginnings by reframing it in critical and specifically historiographical terms. How and why do we write about the origins of the medium? Whom or what do we rely on to construct those narratives? What’s at stake in choosing to tell stories of photography’s genesis in one way or another? And what kind of work can those stories do?
Edited by Tanya Sheehan and Andrés Mario Zervigón, this collection of 16 original essays, illustrated with 32 colour images, showcases prominent and emerging voices in the field of photography studies. Their research cuts across disciplines and methodologies, shedding new light on old questions about histories and their writing.
Photography and Its Origins will serve as a valuable resource for students and scholars in art history, visual and media studies, and the history of science and technology.
Photography and Doubtreflects on this interest in photography’s referential power by discussing it in rigorously historical terms. How was the understanding of photographic realism cultivated in the first place? What do cases of staged and manipulated photography reveal about that realism’s hold on audiences across the medium’s history? Have doubts about photography’s testimonial power stimulated as much knowledge as its realism?
Edited by Sabine T. Kriebel and Andrés Mario Zervigón, Photography and Doubt is the first multi-authored collection specifically designed to explore these questions. Its 13 original essays, illustrated with 73 color images, explore cases when the link between the photographic image and its referent was placed under stress, and when photography was as attuned to its myth-making capabilities as to its claims to authenticity.
Photography and Doubtwill serve as a valuable resource for students and scholars in art history, visual and media studies, philosophy, and the history of science and technology.
The new edition includes:
an expanded introduction
extended chapters featuring emerging trends
a larger selection of images, including new color images
an improved and expanded bibliography.
This new edition is essential for students looking to enrich their understanding of photography as a complex and multi-faceted art form.
This book shows how digital technologies and global dissemination have radically advanced the pluralism of photographic meaning and fundamentally transformed photography theory. Having assimilated the histories of semiotic analysis and post-structural theory, critiques of representation continue to move away from the notion of original and copy and towards materiality, process, and the interdisciplinary. The implications of what it means to ‘see’ an image is now understood to encompass, not only the optical, but the conceptual, ethical, and haptic experience of encountering an image. The 'fractal' is now used to theorize the new condition of photography as an algorithmic medium and leads us to reposition our relationship to photographs and lend nuances to what essentially underlies any photography theory — that is, the relationship of the image to the real world and how we conceive what that means.
Diverse in its scope and themes, The Routledge Companion to Photography Theory is an indispensable collection of essays and interviews for students, researchers, and teachers. The volume also features extensive images, including beautiful colour plates of key photographs.
These ten questions launch a thought-provoking investigation into what is really going on when you look at a photograph. Peeling back the layers of everything from the earliest daguerreotypes to your latest selfie, you will discover where to find meaning in an image, and the ways in which the photographer, our current culture, and you yourself all collaborate in the creation of that meaning.
Its coverage is global – an important ‘first’ in that authorities from all over the world have contributed their expertise and scholarship towards making this a truly comprehensive publication. The Encyclopedia presents new and ground-breaking research alongside accounts of the major established figures in the nineteenth century arena.
Coverage includes all the key people, processes, equipment, movements, styles, debates and groupings which helped photography develop from being ‘a solution in search of a problem’ when first invented, to the essential communication tool, creative medium, and recorder of everyday life which it had become by the dawn of the twentieth century.
The sheer breadth of coverage in the 1200 essays makes the Encyclopedia of Nineteenth-Century Photography an essential reference source for academics, students, researchers and libraries worldwide.
Photography: Theoretical Snapshots offers exciting perspectives on photography theory today from some of the world’s leading critics and theorists. It introduces new means of looking at photographs, with topics including:
a community-based understanding of Spencer Tunick’s controversial installations
the tactile and auditory dimensions of photographic viewing
the use of photography in human rights discourse.
Photography: Theoretical Snapshots also addresses the question of photography history, revisiting the work of some of the most influential theorists such as Roland Barthes, Walter Benjamin, and the October group, re-evaluating the neglected genre of the carte-de-visite photograph, and addressing photography’s wider role within the ideologies of modernity. The collection opens with an introduction by the editors, analyzing the trajectory of photography studies and theory over the past three decades and the ways in which the discipline has been constituted.
Ranging from the most personal to the most dehumanized uses of photography, from the nineteenth century to the present day, from Latin America to Northern Europe, Photography: Theoretical Snapshots will be of value to all those interested in photography, visual culture, and cultural history.
Jonathan Harris examines and accounts for the new approaches to the study of art which have been grouped loosely under the term 'the new art history'. He distinguishes between these and earlier forms of 'radical' or 'critical' analysis, explores the influence of other disciplines and traditions on art history, and relates art historical ideas and values to social change.
Structured around an examination of key texts by major contemporary critics, including Tim Clarke, Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key moment in the discipline of art history, tracing the development and interaction of Marxist, feminist and psychoanalytic critical theories. Individual chapters include: * Capitalist Modernity, the Nation-State and Visual Representation * Feminism, Art, and Art History * Subjects, Identities and Visual Ideology * Structures and Meanings in Art and Society * The Representation of Sexuality