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.
The Handbook of Photography Studies is a state-of-the-art overview of the field of photography studies, examining its thematic interests, dynamic research methodologies and multiple scholarly directions. Split into five core. This collection explores the cultural fascination with social media forms of self-portraiture, "selfies," with a specific interest in online self-imaging strategies in a Western context.
This book examines the selfie as a social and technological phenomenon but also engages with digital self-portraiture as representation: as work that is committed to rigorous object-based analysis.
The scholars in this volume consider the topic of online self-portraiture—both its social function as a technology-driven form of visual communication, as well as its thematic,. It brings together a wide range of different approaches and invites learners to consider innovative approaches to the way they work. This book analyzes recent artistic and activist projects in order to conceptualize the new roles and goals of a critical theory and practice of art and photography.
The book thus offers a critical framework in which to rethink the. Taking its departure point from the surrealist photographs of? Found Sculpture and Photography from Surrealism to Contemporary Art offers fresh perspectives on the sculptural object by relating it to both surrealist concerns with chance and the crucial role of photography in framing the everyday.
For all their differences, then, Bruckle. A temporary structure dismantled after only seven months, on the eve of National Socialism, it has long been regarded as encap- sulating the defeated utopian aspirations of the avant-garde; its reconstruction as museum-cum-tourist attraction further hollows out whatever utopian social hopes it might once have embodied. This overview cannot do full justice to the nuanced accounts of particular works and theorists that mark many papers in this volume.
It does, however, indicate the extent to which art history becomes closely entwined with criticism in many of them. Throughout, one finds an interleaving of traditional art-historical, philosophical and historical contextualizing of the object, with a more first person, visual, sometimes partisan, engagement with it.
Where one is historical and interpretative, the other has both descriptive and normative dimensions, entailing that one take a stand on the value of the art in question. The interpenetration of these modes of writing about art reflects the permeability of contemporary art theory to philosophical and theoretical issues at large in the culture more generally and, in so far as artists are equally open to these same cultural forces, this explains the responsiveness of ambitious art to critical theorization.
The intertwining of such forms of writing characterizes what the editors would claim to be a feature of the best contemporary writing about art.
Another feature of the collection as a whole is the extent to which the claims of individual papers hold clear implications for the arguments of others. But why think that? The skilful painter think of Morris Louis manipulates all these causal interactions in the service of his or her ends. As Joel Snyder has consistently argued, there is no principled difference between photo- graphy and any other medium in this regard: the photographer employs a parti- cular camera, lens, aperture and shutter speed, and sets all manner of other variables, including lighting, filters, and in principle choice and temperature of processing and developing solutions in the service of their particular ends.
Being a skilled practitioner is being able to employ or, better, act through such means to achieve the end envisaged. In sum: the use of digital technologies by Wall, or of models by Demand, may have foregrounded the intentional activity of photographers, but it was always there.
Though it is possible for a photograph to be produced entirely by accident a curtain blown by the wind knocks over a Polaroid camera and trips the shutter or entirely naturally the impression of a static lace curtain on a patch of wall faded by the sun is arguably a cameraless, agentless photograph , the use of the photo- graphic apparatus by artists and photographers has always been saturated by intention.
This does not, however, conflict with the fact that many artists, including photographers, delight in harnessing chance effects and making accidents happen. It would take more space than is available to us here to establish this, so we will simply note that it is one of the aims of the broader research project of which this volume forms a part to interrogate such issues with the resources that art history and philosophy offer when brought into dialogue.
Yet neither, it should be noted, do they accept the countervailing postmodern perception of photography as the anti-aesthetic medium par excellence, in virtue of its mechanical nature and causal basis. Rather, several seek out the deeper aesthetic dimension of works that might at first blush seem to negate aesthetic engagement. One way in which they do this is by positioning the work concerned in relation to a longer historical lineage or a wider cultural field.
It is probably significant that, where the work of the presiding genius of the anti-aesthetic gesture is invoked, Duchamp is represented, not by the readymade, but by his elaborate Large Glass. Conceptual art and its theoretical framing would at one time have been construed as announcing the demise of the privilege, if not the bare sensory necessity, of the aesthetic reception of works of art, in so far as the locus of the work was deemed to be the idea or statement.
As a consequence, the photographs and texts associated with conceptual art have not always been looked at as carefully as they might.
At least on the evidence of the papers presented here, this perception of the art of the period and its legacy is no longer ascendant. At the same time, however, another conclusion to be drawn from this collection is that it no longer seems essential to the work of criticism to operate with a strong notion of medium.
Rather, the papers explore what we have termed the hybrid condition of art since the s. More Details. Charlotte Cotton 29 books 19 followers. Before joining the museum in , Charlotte was curator of photographs at the Victoria and Albert Museum , the head of programming at The Photographers Gallery in London.
She is also the founding editor of wordswithoutpictures. Search review text. Very inspiring and interesting introduction to art photography. I found it challenging and engaging and a great change from ordinary books about photography and technique. This is certainly not a book for the standard digital SLR pusher. It is a refreshing and revelatory discussion of photographic artistic expression. Although not all the works included appealed to me I never expected them to given the breadth of talent and styles show cased I think this is one of the best books on photography I've read.
Well recommended to those seeking more than pretty postcards or "commercial style" photography. I didn't like most of the photographs - soulless and horrible. Then I read the text which made some of them more interesting but it makes me wonder if they can't stand by themselves.
Maybe I have been spoilt by looking at classic photographs or this isn't to my taste but it makes me realise how important beauty and softness is, especially if you don't have that interesting content. To be fair, with contemporary art it's not clear yet what is good, and much of it will fade away while I imagine the good stuff will endure over time. Excellent overview of contemporary artists. The third edition was released in , but the bulk of the book seems focused on work that was produced in the late 90s and early s i.
So you'll want Portishead and Massive Attack playing in the background. But it's a stylish and bracing collection, intelligently organized.
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