The Contest of Meaning by Richard Bolton (Editor)14 essays discuss the development of photography, and how it promotes class and national interests. With over 200 illustrations, it critically examines prevailing beliefs about the medium and suggest new ways to explain the history of photography. They are organized around the questions: What are the social consequences of aesthetic practice? How does photography construct sexual difference? How is photography used to promote class and national interests? What are the politics of photographic truth?
Photography Is Magic by Charlotte CottonPhotography Is Magic draws together current ideas about the use of photography as an invaluable medium in the contemporary art world. Edited and with an essay by Charlotte Cotton, this critical publication surveys over eighty artists, all of whom are engaged with experimental ideas concerning photographic practice, as the contemporary landscape is currently being reshaped through digital techniques. We are shown the scope of photographic possibilities in the context of the contemporary creative process. From Michele Abeles and Walead Beshty to Daniel Gordon and Matt Lipps, Cotton has selected artists who are consciously reframing photographic practices using mixed media, appropriation, and a recalibration of analog processes. Photography Is Magic provides the reader with an engaging physical experience and is designed for younger photo aficionados, students, and anyone interested in gaining a deeper understanding of contemporary photography.
Call Number: TR187 C67 2015
Publication Date: 2015
Photography As Fiction by Erin C. GarciaPhotography is commonly associated with fact, yet it has been a medium for fiction from the very beginning. Following its inception in 1839, artists began exploring photography's enormous potential for storytelling and often went to great lengths to create pictures for the camera. The tradition of staging persisted as an artistic approach into the twentieth century and took on new meaning in the context of advertising, film, and television. This book's short introductory essay summarizes the history of staged photography, highlighting key debates that center on the seeming contradiction between the medium's blunt factuality and its capacity for deception. Photography as Fiction includes seventy-six color plates illustrating works from the J. Paul Getty Museum's collection that embrace theatricality and are unconcerned with documenting the world as it exists. The book showcases works by both widely known and less prominent artists, including Julia Margaret Cameron, Lewis Carroll, Jo Ann Callis, Eileen Cowin, Roger Fenton, Gertrude K#65533;sebier, Loretta Lux, Man Ray, Ralph Eugene Meatyard, Yasumasa Morimura, Paul Outerbridge, Henry Peach Robinson, Lucas Samaras, Alfred Stieglitz, Andy Warhol, and Carrie Mae Weems.
Call Number: TR148 G37 2010
Publication Date: 2010
The Photography Book by Ian Jeffrey500 superb images represent the world's best photographers and encompass every sort of photography in this eye-catching and engrossing book. Pictures of famous events such as the Royal Wedding and the first landing on the moon are here, next to familiar shots by masters of photography such as Bill Brandt, Henri Cartier-Bresson, Cecil Beaton and Robert Doisneau. There is fashion, sport, natural history, reportage and society portraiture, as well as social documentary and art. The 500 photographers featured range from William Henry Fox Talbot and Julia Margaret Cameron to Larry Clarke and Herb Ritts, from Robert Capa and Josef Koudelka to Nan Goldin and Pierre et Gilles. Arranged alphabetically by photographer, each full-page image is accompanied by an illuminating text which gives a useful insight into the work and its creator, as well as extensive cross-references to others working in the same field or the same style. Glossaries of technical terms and movements and a directory of museums and galleries are included to provide a fully comprehensive and self-contained volume.
Call Number: TR15 P46 1997
Publication Date: 1997
Photography: a Critical Introduction by Liz Wells (Editor)Photography: A Critical Introduction was the first introductory textbook to examine key debates in photographic theory and place them in their social and political contexts, and is now established as one of the leading textbooks in its field. Written especially for students in higher education and for introductory college courses, this fully revised edition provides a coherent introduction to the nature of photographic seeing. 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 H#65533;ch, 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.
Call Number: TR145 P48 2015
Publication Date: 2015
Singular Images, Failed Copies: William Henry Fox Talbot and the early photograph by Vered MaimonAvailable on JSTOR and ProQuest, Focusing on early nineteenth-century England'and on the works and texts of the inventor of paper photography, William Henry Fox Talbot?Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change. Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today's prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot's accounts on the removal of the "artist's hand" in favor of "the pencil of nature" did not mark a shift from manual to "mechanical" and more accurate or "objective" systems of representation. In Singular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries.
Call Number: E-Book
Publication Date: 2015-10-25
Fifty Key Writers on Photography by Mark Durden (Editor)Clear and concise survey of some of the most significant writers on photography who have played a major part in defining and influencing our understanding of the medium. It provides a succinct overview of writing on photography from a diverse range of disciplines and perspectives and examines the shifting perception of the medium over the course of its 170 year history. Key writers discussed include: Roland Barthes, Susan Sontag, Jacques Derrida, Henri Cartier-Bresson, Geoffrey Batchen. Fully cross-referenced and in an A-Z format, this is an accessible and engaging introductory guide. INDEX OF THEIR WRITINGS.
Call Number: TR185 F54 2013 & E-Book
Publication Date: 2013-02-07
Colonialist Photography by Eleanor M. Hight (Editor); Gary D. Sampson (Editor)Absorbing collection of essays and photographs exploring the relationship between photography and European and American colonialism. The book is packed with well over a hundred captivating images, ranging from the first experiments with photography as a documentary medium up to the decolonization of many regions after World War II. Reinforcing a broad range of Western assumptions and prejudices, Eleanor M. Hight and Gary D. Sampson argue that such images often assisted in the construction of a colonial culture.