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This book examines a recurrent question in recent literature on the use of the photographic medium in contemporary art. It is concerned with the multiformity of ways the photograph manifests itself in diverse artistic practices today, and with the consequences of this situation for photography’s critical potential. Central to this discussion is the question whether(...)
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Summary:
This book examines a recurrent question in recent literature on the use of the photographic medium in contemporary art. It is concerned with the multiformity of ways the photograph manifests itself in diverse artistic practices today, and with the consequences of this situation for photography’s critical potential. Central to this discussion is the question whether(...)
Subject:
Theory of Photography
Theory of Photography
Publication:
September 2008, Leuven
September 2008, Leuven
Title:
Photography between poetry and politics: the critical position of the photographic medium in contemporary art
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This book examines a recurrent question in recent literature on the use of the photographic medium in contemporary art. It is concerned with the multiformity of ways the photograph manifests itself in diverse artistic practices today, and with the consequences of this situation for photography’s critical potential. Central to this discussion is the question whether photography has a hybrid or chameleonic character because it can be part of entirely different mixed-media works of art. The book also raises such questions as: Does the photo-image nowadays serve mainly as a useful tool to make a renewed kind of tableau, often marked by a rather noncommittal and ‘poetic’ visual imagery? When photographic practices aim at raising a critical debate on the internal workings of the artistic system itself or on broader social problems, is the photograph then able to distinguish itself from a merely ‘political’ statement or a pamphlet? A distinguished variety of authors, all specialists in the field of contemporary photography, offer their viewpoints on this debate.
Photography between poetry and politics: the critical position of the photographic medium in contemporary art
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Summary:
This book examines a recurrent question in recent literature on the use of the photographic medium in contemporary art. It is concerned with the multiformity of ways the photograph manifests itself in diverse artistic practices today, and with the consequences of this situation for photography’s critical potential. Central to this discussion is the question whether photography has a hybrid or chameleonic character because it can be part of entirely different mixed-media works of art. The book also raises such questions as: Does the photo-image nowadays serve mainly as a useful tool to make a renewed kind of tableau, often marked by a rather noncommittal and ‘poetic’ visual imagery? When photographic practices aim at raising a critical debate on the internal workings of the artistic system itself or on broader social problems, is the photograph then able to distinguish itself from a merely ‘political’ statement or a pamphlet? A distinguished variety of authors, all specialists in the field of contemporary photography, offer their viewpoints on this debate.
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books
books
Publication:
September 2008, Leuven
September 2008, Leuven
Subject:
Theory of Photography
Theory of Photography
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books
books
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$37.95
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In this groundbreaking work, Ariella Azoulay provides a compelling rethinking of the political and ethical status of photography. In her extraordinary account of the “civil contract” of photography, she thoroughly revises our understanding of the power relations that sustain and make possible photographic meanings. Photography, she insists, must be thought and understood(...)
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Summary:
In this groundbreaking work, Ariella Azoulay provides a compelling rethinking of the political and ethical status of photography. In her extraordinary account of the “civil contract” of photography, she thoroughly revises our understanding of the power relations that sustain and make possible photographic meanings. Photography, she insists, must be thought and understood(...)
Title:
The civil contract of photography
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In this groundbreaking work, Ariella Azoulay provides a compelling rethinking of the political and ethical status of photography. In her extraordinary account of the “civil contract” of photography, she thoroughly revises our understanding of the power relations that sustain and make possible photographic meanings. Photography, she insists, must be thought and understood in its inseparability from the many catastrophes of recent history.
The civil contract of photography
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Summary:
In this groundbreaking work, Ariella Azoulay provides a compelling rethinking of the political and ethical status of photography. In her extraordinary account of the “civil contract” of photography, she thoroughly revises our understanding of the power relations that sustain and make possible photographic meanings. Photography, she insists, must be thought and understood in its inseparability from the many catastrophes of recent history.
Form:
books
books
Publication:
October 2008, New York
October 2008, New York
Subject:
Theory of Photography
Theory of Photography
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books
books
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$52.00
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Getting the picture, constructing (and deconstructing) the picture, finding the picture, viewing the picture, being in the picture , changing the pictures --these are all phrases that apply to the fascinating world of 'putting people in the picture' in visual research within the Social Sciences. Putting People in the Picture: Visual Methodologies for Social Change focuses(...)
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Getting the picture, constructing (and deconstructing) the picture, finding the picture, viewing the picture, being in the picture , changing the pictures --these are all phrases that apply to the fascinating world of 'putting people in the picture' in visual research within the Social Sciences. Putting People in the Picture: Visual Methodologies for Social Change focuses(...)
Subject:
Theory of Photography
Theory of Photography
Publication:
May 2008, Rotterdam
May 2008, Rotterdam
Title:
Putting people in the picture: visual methodologies for social change
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Getting the picture, constructing (and deconstructing) the picture, finding the picture, viewing the picture, being in the picture , changing the pictures --these are all phrases that apply to the fascinating world of 'putting people in the picture' in visual research within the Social Sciences. Putting People in the Picture: Visual Methodologies for Social Change focuses on the ways in which researchers, practitioners and activists are using such techniques as photo voice, collaborative video, drawings and other visual and arts-based tools as modes of inquiry, as modes of representation and as modes of disseminating findings in social research. The various chapters address methodological, analytical, interpretive, aesthetic, technical and ethical concerns in using visual methodologies in work with young people, teachers, community health care workers -- and even the self-as-researcher. The range of issues addressed in the work is broad, and includes work in the areas of HIV & AIDS, schooling, poverty, gender violence, race, and children's visions for the future. While the studies are situated within a variety of social contexts, the focus is primarily on work in Southern Africa. The book takes up some of the theoretical and practical challenges offered by Visual Sociology, Image- based Research, Media Studies, Rural Development, and Community-based and Participatory Research, and in so doing offers audiences an array of visual approaches to studying and bringing about social change.
Putting people in the picture: visual methodologies for social change
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Summary:
Getting the picture, constructing (and deconstructing) the picture, finding the picture, viewing the picture, being in the picture , changing the pictures --these are all phrases that apply to the fascinating world of 'putting people in the picture' in visual research within the Social Sciences. Putting People in the Picture: Visual Methodologies for Social Change focuses on the ways in which researchers, practitioners and activists are using such techniques as photo voice, collaborative video, drawings and other visual and arts-based tools as modes of inquiry, as modes of representation and as modes of disseminating findings in social research. The various chapters address methodological, analytical, interpretive, aesthetic, technical and ethical concerns in using visual methodologies in work with young people, teachers, community health care workers -- and even the self-as-researcher. The range of issues addressed in the work is broad, and includes work in the areas of HIV & AIDS, schooling, poverty, gender violence, race, and children's visions for the future. While the studies are situated within a variety of social contexts, the focus is primarily on work in Southern Africa. The book takes up some of the theoretical and practical challenges offered by Visual Sociology, Image- based Research, Media Studies, Rural Development, and Community-based and Participatory Research, and in so doing offers audiences an array of visual approaches to studying and bringing about social change.
Form:
books
books
Publication:
May 2008, Rotterdam
May 2008, Rotterdam
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Price:
$62.50
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Summary:
Typical architectural photography freezes buildings in an ideal moment and rarely captures what photographer Berenice Abbott called the medium's power to depict "how the past jostled the present." In Beyond the Architect's Eye, Mary N. Woods expands on this range of images through a rich analysis that commingles art, amateur, and documentary photography, genres usually(...)
$62.50
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Typical architectural photography freezes buildings in an ideal moment and rarely captures what photographer Berenice Abbott called the medium's power to depict "how the past jostled the present." In Beyond the Architect's Eye, Mary N. Woods expands on this range of images through a rich analysis that commingles art, amateur, and documentary photography, genres usually(...)
Title:
Beyond the architect's eye: photographs and the american built environment
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Typical architectural photography freezes buildings in an ideal moment and rarely captures what photographer Berenice Abbott called the medium's power to depict "how the past jostled the present." In Beyond the Architect's Eye, Mary N. Woods expands on this range of images through a rich analysis that commingles art, amateur, and documentary photography, genres usually not considered architectural but that often take the built environment as their subject. Mary N. Woods is Professor of the History of Architecture and Urbanism at Cornell University. She is the author of From Craft to Profession: The Practice of Architecture in Nineteenth-Century America.
Beyond the architect's eye: photographs and the american built environment
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Summary:
Typical architectural photography freezes buildings in an ideal moment and rarely captures what photographer Berenice Abbott called the medium's power to depict "how the past jostled the present." In Beyond the Architect's Eye, Mary N. Woods expands on this range of images through a rich analysis that commingles art, amateur, and documentary photography, genres usually not considered architectural but that often take the built environment as their subject. Mary N. Woods is Professor of the History of Architecture and Urbanism at Cornell University. She is the author of From Craft to Profession: The Practice of Architecture in Nineteenth-Century America.
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books
books
Publication:
September 2008, Philadelphia
September 2008, Philadelphia
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Price:
$54.95
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Summary:
This imaginative study of American visual culture reveals how the political predicaments of a few small bureaucracies once fostered pictures of an extraordinary style. U.S. geographical and geological surveys of the late nineteenth century produced photographs and drawings of topography, American Indians, geologic features, botanical specimens, and specialists at work in(...)
$54.95
(available to order)
Summary:
This imaginative study of American visual culture reveals how the political predicaments of a few small bureaucracies once fostered pictures of an extraordinary style. U.S. geographical and geological surveys of the late nineteenth century produced photographs and drawings of topography, American Indians, geologic features, botanical specimens, and specialists at work in(...)
Subject:
Theory of Photography
Theory of Photography
Publication:
June 2007, Berkeley, Los Angeles, London
June 2007, Berkeley, Los Angeles, London
Title:
Archive style : photographs & illustrations for U.S. surveys, 1850-1890
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Summary:
This imaginative study of American visual culture reveals how the political predicaments of a few small bureaucracies once fostered pictures of an extraordinary style. U.S. geographical and geological surveys of the late nineteenth century produced photographs and drawings of topography, American Indians, geologic features, botanical specimens, and specialists at work in the field. Some of these pictures have long been celebrated for their anticipation of a modernist aesthetic, but Robin Kelsey, in this abundantly illustrated volume, traces their modernistic qualities to archival ingenuity. The technical and promotional needs of surveys, Kelsey argues, fostered the emergence of a taut, graphic pictorial style that imitated the informational clarity of diagrams and maps. As this book demonstrates, these pictures became sites of struggle as well as innovation when three brilliant survey artists and photographers subtly resisted the programs they were hired to serve. Discovering a politics of style behind the modernist look of survey pictures, Kelsey offers a fresh interpretation of canonical western expedition photographs by Timothy H. O'Sullivan and introduces two exceptional but largely forgotten sets of pictures: views of the U.S.-Mexico boundary from the 1850s by Arthur Schott and photographs of the Charleston earthquake of 1886 by C. C. Jones.
Archive style : photographs & illustrations for U.S. surveys, 1850-1890
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$54.95
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Summary:
This imaginative study of American visual culture reveals how the political predicaments of a few small bureaucracies once fostered pictures of an extraordinary style. U.S. geographical and geological surveys of the late nineteenth century produced photographs and drawings of topography, American Indians, geologic features, botanical specimens, and specialists at work in the field. Some of these pictures have long been celebrated for their anticipation of a modernist aesthetic, but Robin Kelsey, in this abundantly illustrated volume, traces their modernistic qualities to archival ingenuity. The technical and promotional needs of surveys, Kelsey argues, fostered the emergence of a taut, graphic pictorial style that imitated the informational clarity of diagrams and maps. As this book demonstrates, these pictures became sites of struggle as well as innovation when three brilliant survey artists and photographers subtly resisted the programs they were hired to serve. Discovering a politics of style behind the modernist look of survey pictures, Kelsey offers a fresh interpretation of canonical western expedition photographs by Timothy H. O'Sullivan and introduces two exceptional but largely forgotten sets of pictures: views of the U.S.-Mexico boundary from the 1850s by Arthur Schott and photographs of the Charleston earthquake of 1886 by C. C. Jones.
Form:
books
books
Publication:
June 2007, Berkeley, Los Angeles, London
June 2007, Berkeley, Los Angeles, London
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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$75.95
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Summary:
Autour de quelques photographes dits «humanistes» devenus très célèbres (Izis, Boubat, Brassaï, Doisneau, Ronis...), plus d'une soixantaine de reporters-illustrateurs de grand talent ont œuvré et méritent d'être à l'honneur. Qu'ils se nomment Edith Gérin, Janine Niépce ou Sabine Weiss, Marcel Bovis, René-Jacques, Jean Dieuzaide, Jean Marquis, Jean-Philippe Charbonnier,(...)
$75.95
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Summary:
Autour de quelques photographes dits «humanistes» devenus très célèbres (Izis, Boubat, Brassaï, Doisneau, Ronis...), plus d'une soixantaine de reporters-illustrateurs de grand talent ont œuvré et méritent d'être à l'honneur. Qu'ils se nomment Edith Gérin, Janine Niépce ou Sabine Weiss, Marcel Bovis, René-Jacques, Jean Dieuzaide, Jean Marquis, Jean-Philippe Charbonnier,(...)
Subject:
Theory of Photography
Theory of Photography
Publication:
December 2006, Paris
December 2006, Paris
Title:
La photographie humaniste, 1945-1968 : autour d'Izis, Boubat. Brassaï, Doisneau, Ronis...
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Autour de quelques photographes dits «humanistes» devenus très célèbres (Izis, Boubat, Brassaï, Doisneau, Ronis...), plus d'une soixantaine de reporters-illustrateurs de grand talent ont œuvré et méritent d'être à l'honneur. Qu'ils se nomment Edith Gérin, Janine Niépce ou Sabine Weiss, Marcel Bovis, René-Jacques, Jean Dieuzaide, Jean Marquis, Jean-Philippe Charbonnier, Léon Herschtritt, Jean-Louis Swiners, ou encore Eric Schwab, André Papillon..., ils ont en commun d'avoir nourri de leurs images le paysage visuel des Français de l'après-guerre. La Bibliothèque nationale de France peut se prévaloir de conserver la mémoire de bon nombre de ces auteurs, grâce au dépôt légal ainsi qu'à des dons généreux, auxquels elle rend hommage dans une exposition montrant les différents volets de leur activité et de leur production. On découvrira ainsi de nombreuses pièces illustrées par leurs soins ouvrages et magazines, mais aussi affiches, calendriers, agendas, dossiers pédagogiques, présents dans les fonds de la Bibliothèque. Les photographes «humanistes» ont contribué à construire une iconographie nationale, avec ses lieux pittoresques et ses archétypes sociaux mais aussi à dénoncer les réalités de l'époque - misère des banlieues, crise du logement, menaces de guerre - et à relayer luttes et espoirs de l'après-guerre. Grâce à leur participation à de grandes revues internationales (Life, Camera, Du...), ils ont aussi élargi l'horizon de leurs contemporains. Enfin ils ont en commun d'avoir développé «un imaginaire d'après nature» - selon l'expression d'Henri Cartier-Bresson - que l'on peut également qualifier de «réalisme poétique». La figure de l'homme occupe une place centrale dans cette dimension onirique et merveilleuse du réel, révélée par la photographie à l'occasion de riches coopérations avec les écrivains, poètes ou chansonniers de l'époque. Ce sont ces différents aspects que l'exposition et l'ouvrage qui l'accompagne se proposent d'aborder, afin d'élargir et d'enrichir le point de vue actuel sur la photographie «humaniste», trop souvent restreinte à quelques noms et quelques œuvres.
La photographie humaniste, 1945-1968 : autour d'Izis, Boubat. Brassaï, Doisneau, Ronis...
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Autour de quelques photographes dits «humanistes» devenus très célèbres (Izis, Boubat, Brassaï, Doisneau, Ronis...), plus d'une soixantaine de reporters-illustrateurs de grand talent ont œuvré et méritent d'être à l'honneur. Qu'ils se nomment Edith Gérin, Janine Niépce ou Sabine Weiss, Marcel Bovis, René-Jacques, Jean Dieuzaide, Jean Marquis, Jean-Philippe Charbonnier, Léon Herschtritt, Jean-Louis Swiners, ou encore Eric Schwab, André Papillon..., ils ont en commun d'avoir nourri de leurs images le paysage visuel des Français de l'après-guerre. La Bibliothèque nationale de France peut se prévaloir de conserver la mémoire de bon nombre de ces auteurs, grâce au dépôt légal ainsi qu'à des dons généreux, auxquels elle rend hommage dans une exposition montrant les différents volets de leur activité et de leur production. On découvrira ainsi de nombreuses pièces illustrées par leurs soins ouvrages et magazines, mais aussi affiches, calendriers, agendas, dossiers pédagogiques, présents dans les fonds de la Bibliothèque. Les photographes «humanistes» ont contribué à construire une iconographie nationale, avec ses lieux pittoresques et ses archétypes sociaux mais aussi à dénoncer les réalités de l'époque - misère des banlieues, crise du logement, menaces de guerre - et à relayer luttes et espoirs de l'après-guerre. Grâce à leur participation à de grandes revues internationales (Life, Camera, Du...), ils ont aussi élargi l'horizon de leurs contemporains. Enfin ils ont en commun d'avoir développé «un imaginaire d'après nature» - selon l'expression d'Henri Cartier-Bresson - que l'on peut également qualifier de «réalisme poétique». La figure de l'homme occupe une place centrale dans cette dimension onirique et merveilleuse du réel, révélée par la photographie à l'occasion de riches coopérations avec les écrivains, poètes ou chansonniers de l'époque. Ce sont ces différents aspects que l'exposition et l'ouvrage qui l'accompagne se proposent d'aborder, afin d'élargir et d'enrichir le point de vue actuel sur la photographie «humaniste», trop souvent restreinte à quelques noms et quelques œuvres.
Form:
books
books
Publication:
December 2006, Paris
December 2006, Paris
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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$71.95
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Summary:
L’annonce de l’invention de la photographie, en 1839, est un événement capital pour le XIXe siècle occidental. Elle plonge la société au cœur d’une ère nouvelle pour l’art, dans laquelle une image mécanique – le daguerréotype – met en crise, pour ne pas dire ruine instantanément tout un pan de la représentation fondé sur l’imitation des formes du visible et la figuration.(...)
$71.95
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L’annonce de l’invention de la photographie, en 1839, est un événement capital pour le XIXe siècle occidental. Elle plonge la société au cœur d’une ère nouvelle pour l’art, dans laquelle une image mécanique – le daguerréotype – met en crise, pour ne pas dire ruine instantanément tout un pan de la représentation fondé sur l’imitation des formes du visible et la figuration.(...)
Title:
L'image sans qualité : les beaux-arts et la critique à l'épreuve de la photographie
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L’annonce de l’invention de la photographie, en 1839, est un événement capital pour le XIXe siècle occidental. Elle plonge la société au cœur d’une ère nouvelle pour l’art, dans laquelle une image mécanique – le daguerréotype – met en crise, pour ne pas dire ruine instantanément tout un pan de la représentation fondé sur l’imitation des formes du visible et la figuration. Quels sont les effets de cette annonce sur les acteurs de l’époque ? Quels en sont les conséquences dans le champ de l’art contemporain d’alors ? Critiques et écrivains polémiquent, peintres et sculpteurs sont mêlés aux débats - à partir de 1839, on assiste à deux décennies d’affrontements...
L'image sans qualité : les beaux-arts et la critique à l'épreuve de la photographie
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$71.95
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Summary:
L’annonce de l’invention de la photographie, en 1839, est un événement capital pour le XIXe siècle occidental. Elle plonge la société au cœur d’une ère nouvelle pour l’art, dans laquelle une image mécanique – le daguerréotype – met en crise, pour ne pas dire ruine instantanément tout un pan de la représentation fondé sur l’imitation des formes du visible et la figuration. Quels sont les effets de cette annonce sur les acteurs de l’époque ? Quels en sont les conséquences dans le champ de l’art contemporain d’alors ? Critiques et écrivains polémiquent, peintres et sculpteurs sont mêlés aux débats - à partir de 1839, on assiste à deux décennies d’affrontements...
Form:
books
books
Publication:
November 2006, Paris
November 2006, Paris
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Title:
Kamera los das fotogramm
Kamera los das fotogramm
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$41.50
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"Der entscheidende Unterschied zwischen Fotogramm und Fotografie besteht nicht darin, dass das Fotogramm ohne Kamera entsteht, sondern dass es ein Bild ist, das ohne Linse zustande kommt." Floris M. Neusüss
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"Der entscheidende Unterschied zwischen Fotogramm und Fotografie besteht nicht darin, dass das Fotogramm ohne Kamera entsteht, sondern dass es ein Bild ist, das ohne Linse zustande kommt." Floris M. Neusüss
Subject:
Theory of Photography
Theory of Photography
Publication:
October 2006, Salzburg
October 2006, Salzburg
Title:
Kamera los das fotogramm
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$41.50
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"Der entscheidende Unterschied zwischen Fotogramm und Fotografie besteht nicht darin, dass das Fotogramm ohne Kamera entsteht, sondern dass es ein Bild ist, das ohne Linse zustande kommt." Floris M. Neusüss
Kamera los das fotogramm
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"Der entscheidende Unterschied zwischen Fotogramm und Fotografie besteht nicht darin, dass das Fotogramm ohne Kamera entsteht, sondern dass es ein Bild ist, das ohne Linse zustande kommt." Floris M. Neusüss
Form:
books
books
Publication:
October 2006, Salzburg
October 2006, Salzburg
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
Title:
Thinking photography
Thinking photography
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$38.95
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"Thinking photography" brings debates within the theory and practice of communications and culture, in this case in photography and photography criticism, to a wider audience. Victor Burgin's book is concerned with the production of meaning in photographs ( and so it is fully illustrated). A photograph has traditionally been understood as an expression of the(...)
$38.95
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Summary:
"Thinking photography" brings debates within the theory and practice of communications and culture, in this case in photography and photography criticism, to a wider audience. Victor Burgin's book is concerned with the production of meaning in photographs ( and so it is fully illustrated). A photograph has traditionally been understood as an expression of the(...)
Title:
Thinking photography
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$38.95
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Summary:
"Thinking photography" brings debates within the theory and practice of communications and culture, in this case in photography and photography criticism, to a wider audience. Victor Burgin's book is concerned with the production of meaning in photographs ( and so it is fully illustrated). A photograph has traditionally been understood as an expression of the photographer's personality, a transparent presentation of a real scene, or more recently in 'modernist' criticism as a purely formal object. Victor Burgin and his collaborators - Umberto Eco, Allan Sekula, John Tagg and Simon Watney - taking their cue from Walter Benjamin's "The author as producer" (also reprinted here), and working from a wide range of photographs, challenge the concept of the autonomous, spontaneously creative artist, the idea of documentary truth in photography and the notion of purely visual languages. They develop an account of the production of the meaning as a photograph within social institutions - advertising, journalism, art - within a society with a history and within the unconscious.
Thinking photography
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$38.95
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Summary:
"Thinking photography" brings debates within the theory and practice of communications and culture, in this case in photography and photography criticism, to a wider audience. Victor Burgin's book is concerned with the production of meaning in photographs ( and so it is fully illustrated). A photograph has traditionally been understood as an expression of the photographer's personality, a transparent presentation of a real scene, or more recently in 'modernist' criticism as a purely formal object. Victor Burgin and his collaborators - Umberto Eco, Allan Sekula, John Tagg and Simon Watney - taking their cue from Walter Benjamin's "The author as producer" (also reprinted here), and working from a wide range of photographs, challenge the concept of the autonomous, spontaneously creative artist, the idea of documentary truth in photography and the notion of purely visual languages. They develop an account of the production of the meaning as a photograph within social institutions - advertising, journalism, art - within a society with a history and within the unconscious.
Form:
books
books
Publication:
April 2003, New York
April 2003, New York
Subject:
Theory of Photography
Theory of Photography
Form:
books
books
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$23.95
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Since its invention, photography has always been inextricably tied up with remembrance: photographs recall family, beloved friends, special moments, trips and other events, speaking across time and place to create an emotional bond between subject and viewer. "Forget me not" focuses on this relationship between photography and memory, and explores the curious and(...)
$23.95
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Summary:
Since its invention, photography has always been inextricably tied up with remembrance: photographs recall family, beloved friends, special moments, trips and other events, speaking across time and place to create an emotional bond between subject and viewer. "Forget me not" focuses on this relationship between photography and memory, and explores the curious and(...)
Title:
Forget me not : photography and remembrance
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Since its invention, photography has always been inextricably tied up with remembrance: photographs recall family, beloved friends, special moments, trips and other events, speaking across time and place to create an emotional bond between subject and viewer. "Forget me not" focuses on this relationship between photography and memory, and explores the curious and centuries-old practice of strengthening the emotional appeal of photographs by embellishing them—with text, paint, frames, embroidery, fabric, string, hair, flowers, bullets, cigar wrappers, butterfly wings, and more — to create strange and often beautiful hybrid objects. This spellbinding book features color photographs of eighty such objects, extraordinary works of art — part memento, part Joseph Cornell — created by ordinary people from the mid-19th to mid-20th century. In addition, "Forget me not" offers an alternative way to look at the history of photography, a history that effectively excludes most of the photographs — candid views, family snapshots, and the like — taken since the invention of the camera. Photography historian Geoffrey Batchen adopts a different tone in this book — a personal and speculative voice that speaks to the objects rather than about them while offering a visual treasure chest of both mysterious and beautiful images.
Forget me not : photography and remembrance
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(available to order)
Summary:
Since its invention, photography has always been inextricably tied up with remembrance: photographs recall family, beloved friends, special moments, trips and other events, speaking across time and place to create an emotional bond between subject and viewer. "Forget me not" focuses on this relationship between photography and memory, and explores the curious and centuries-old practice of strengthening the emotional appeal of photographs by embellishing them—with text, paint, frames, embroidery, fabric, string, hair, flowers, bullets, cigar wrappers, butterfly wings, and more — to create strange and often beautiful hybrid objects. This spellbinding book features color photographs of eighty such objects, extraordinary works of art — part memento, part Joseph Cornell — created by ordinary people from the mid-19th to mid-20th century. In addition, "Forget me not" offers an alternative way to look at the history of photography, a history that effectively excludes most of the photographs — candid views, family snapshots, and the like — taken since the invention of the camera. Photography historian Geoffrey Batchen adopts a different tone in this book — a personal and speculative voice that speaks to the objects rather than about them while offering a visual treasure chest of both mysterious and beautiful images.
Form:
books
books
Publication:
August 2006, New York
August 2006, New York
Subject:
Theory of Photography
Theory of Photography
