Author: James Elkins
Release Date: 2013-10-18
Photography Theory presents forty of the world's most active art historians and theorists, including Victor Burgin, Joel Snyder, Rosalind Krauss, Alan Trachtenberg, Geoffrey Batchen, Carol Squiers, Margaret Iversen and Abigail Solomon-Godeau in animated debate on the nature of photography. 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?
Author: Hilde Van Gelder
Publisher: John Wiley & Sons
Release Date: 2011-04-25
Photography Theory in Historical Perspective: Case Studies from Contemporary Art aims to contribute to the understanding of the multifaceted and complex character of the photographic medium by dealing with various case studies selected from photographic practices in contemporary art, discussed in the context of views and theories of photography from its inception. uses case studies to explain photographic practices in contemporary art and place them in the context of theory presents current debates on theory of photography through comparisons to research of other visual media applicable to vernacular and documentary photography as well as art photography
Contemporary art is often preoccupied with time, or acts in which the past is recovered. Through specific case studies of artists who strategically work with historical moments, this book examines how art from the last two decades has sought to mobilize these particular histories, and to what effect, against the backdrop of Modernism. Drawing on the art theory of Rosalind Krauss and the philosophies of Paul Ricoeur, Gerhard Richter, and Pierre Nora, Retroactivity and Contemporary Art interprets those works that foreground some aspect of retroactivity – whether re-enacting, commemorating, or re-imagining – as key artistic strategies. This book is striking philosophical reflection on time within art and art within time, and an indispensable read for those attempting to understand the artistic significance of history, materiality, and memory.
Author: Astrid Köhler
Publisher: transcript Verlag
Release Date: 2018-10-31
Auch wenn nicht allein das jüngere Kunstschaffen von Praktiken des piktorialen Verweisens, Wiederholens und Recycelns gekennzeichnet ist, wurden diese durch die Verbreitungsmöglichkeiten der Fotografie und des Internets erheblich katalysiert. Lichtbildnerische Reproduktionen sowie das Aufgreifen bekannter Bildformeln in inszenierten Fotografien - etwa im Werk von Rita Nowak, Tatiana Antoshina und Sam Taylor-Johnson - führen zu Kaskaden der Korrelierbarkeit und Déjà-vu-Effekten. Ausgehend von Theorien der Intertextualität, Interpiktorialität und Intermedialität untersucht Astrid Köhler Vorzüge und Fallstricke dieser Ansätze, um ein Analysemodell zu entwickeln, das von binären Vor-/Nachbild-Zuweisungen absieht.
Highlighting the distinction between 'making,' rather than 'taking' photographs, Making Photographs introduces a structured way of developing creative solutions to the work you want to make, fusing personal ideas with knowledge, compositional elements and practical skills. Simmons explores a range of photographic practices, including portraiture, landscape, still life and abstract, and discusses techniques such as directorial photography, photomontage and camera-less photography. With practical exercises and additional reading suggested in each chapter, Making Photographs encourages you to tackle the challenges of the creative process on your own terms, enabling you to make informed choices about your development as a photographer.
Author: Kim Timby
Publisher: Walter de Gruyter GmbH & Co KG
Release Date: 2015-07-31
Scholars are increasingly investigating photography’s broad cultural role, expanding our understanding of the diversity of photographic practices. Kim Timby contributes to this new history of photography by examining the multifaceted story of images that animate with a flick of the wrist or appear vividly three-dimensional without the use of special devices—both made possible by the lenticular process. Using French case studies, this volume broadly weaves 3D and animated lenticular imagery into scientific and popular culture, from early cinema and color reproduction to the birth of modern advertising and the market for studio portraits, postcards, and religious imagery. The motivations behind the invention and reinvention of this pervasive form of imagery, from the turn of the twentieth century through the end of the pre-digital era, shed new light on our relationship to photographic realism and on the forceful interplay in photography between technological innovation and the desire to be entertained. 3D and Animated Lenticular Photography: Between Utopia and Entertainment is a profusely illustrated and engaging interdisciplinary study of a wide-ranging body of images that have fascinated viewers for generations.
This timely volume challenges the narrow Western-centrism of most art historical models. Archaeologists have found that, for tens of thousands of years, all human cultures have shared a desire for visual representation or expression. Yet the study of art history has traditionally focused on Western artworks of the past few centuries. "World Art Studies" examines the phenomenon of art through a broader cultural, global and temporal perspective, bringing together a uniquely exhaustive range of perspectives on art and borrowing approaches from the study of neuroscience, evolutionary biology, anthropology and geography as models--alongside more conventional art historical perspectives. In musicology or linguistics, using such diverse viewpoints for reflection and research is considered part of the normal process. In that spirit, this volume goes beyond abstract models, using case studies to demonstrate and examine specific methods of investigation.
Author: Stacey McCarroll Cutshaw
Publisher: Boston Univ Art Gallery
Release Date: 2008
Since the inception of photography in the early nineteenth century, photographs have been made, used, collected, and discarded in greatly increasing numbers. Despite the photograph's persistence in daily life, until recently most types of everyday photography have remained unexamined by historians and have been absent from the walls of galleries and museums. In response to this omission, some scholars have begun to consider photography as a "vernacular" practice. This reframing of the history of photography serves as the starting point forIn the Vernacular: Photography of the Everyday.In the Vernacularutilizes the Rodger Kingston Collection-a collection of approximately 4,000 vernacular images including snapshots, wedding photographs, news and advertising images, insurance pictures, family pictures, travel albums, grade-school class portraits, and pin-up photographs-as the rich visual source material for its exploration of photography of the everyday.The publication includes 75 full-colour reproductions organized thematically, as well as an introductory essay by Ross Barrett and Stacey McCarroll Cutshaw, plus essays on the vernacular and the Kingston Collection by Bernard L. Herman and Daile Kaplan. The book also includes one of the first comprehensive bibliographies on the subject of vernacular photography.
For a medium so potentially "disembodied" and transparent, photography can offer a unique capacity to concretize place, especially when used in art installations in which photographs may be assembled from numerous sources and locations. "Take Place" investigates this particular implementation of photography through various scholarly disciplines-art history, photography theory, the history of architecture and social geography-and through creative disciplines such as installation art, performance, architecture and especially multimedia projects. "Take Place "offers points of departure for the study of photography as it is deployed within other media.
Author: James Elkins
Publisher: Penn State University Press
Release Date: 2013
Brings together historians, philosophers, critics, postcolonial theorists, and curators to ask how images, pictures, and paintings are conceptualized. Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing.