Archive for the ‘Geoffrey Batchen’ Category

Batchen, Geoffrey. ‘Ere the Substance Fade: Photography and hair jewellery’ Photographs Objects Histories: On the materiality of images ed. by Elizabeth Edwards and Janice Hart (London: Routledge, 2004) 32-46 p.32 [On a photo-locket] Designed to be touched, this object touches back, casually grazing the pores of my skin with its textured surfaces. In this mutual […]


Batchen, Geoffrey. ‘Photogrammatology: Writing/Photography’ Art Document, Winter (1994), 3-6 p.3 By projecting photography as a system of representation, each individual photograph becomes an historical, and therefore mutable, artefact of meaning. This view of photography directly opposes  the one propagated since the late 1960’s by formalist scholars, such as John Szarkowski. This Kantian historiography therefore entails a continual search for “concepts […]


Fontcuberta, Joan. Landscapes without Memory (New York: Aperture Foundation, 2005) 4-7 Batchen, Geoffrey. ‘Photography by the Numbers’ Landscapes without Memory (New York: Aperture Foundation, 2005) 9-13 p.9 [referring to Joan Fontcuberta new landscape images and the first pictures sent from the surface of Titan, Saturn’s largest moon] Worlds apart, the two pictures nevertheless share a common conceptual infrastructure. […]


Ectoplasm

31Jan12

Batchen, Geoffrey. ‘Ectoplasm’ Each wild idea: writing, photography, history (Cambridge, Mass.; London: MIT, 2002 [essay originally published in 1994]) 128-144 p.129 This [current] sustained outburst of morbidity appears to stem from two related anxieties. The first is an effect of the widespread introduction of computer-driven imaging processes that allow “fake” photos to be passed off […]


Snapshots

03Jan12

Batchen, Geoffrey. ‘Snapshots’, Photographies, 1:2, 121 – 142, 2008. […] it could be said that snapshots are to the history of photography as photography is to the history of art; each represents a significant threat to the stability of its host discipline. [Batchen describes three vernacular photographs] It’s been said that Americans alone take about […]


Batchen, Geoffrey. ‘Dreams of Ordinary Life: Cartes-de-visite and the bourgeois imagination’ Photography: Theoretical Snapshots (Oxon: Routledge, 2009) p.80-97 p.80 […] the search for imagination in the carte-de-visite must be directed elsewhere, away from the usual focus on photographer and subject, and instead onto the minds eye of their viewers.[?] p.82 Compared to earlier processes such as the daguerrotype, […]


Batchen, Geoffrey. ‘Camera Lucida: Another little history of photography’ Photography Degree Zero ed. by Geoffrey Batchen (Cambridge, MA; London: MIT, 2007) 259-273 p.260 [Batchen proposes] that Camera Lucida is best read not as a book of critical theory but as a history of photography. p.261 [describing the lack of illustration of the winter garden photo] […]


Batchen, Geoffrey. ‘Vernacular Photographies’ Each wild idea: writing, photography, history (Cambridge, Mass.; London: MIT, 2002) 56-80 p.57 [Batchen describes] what has always been excluded from photography’s history: ordinary photographs  […] the photographs that preoccupy the home and the heart but rarely the museum or the academy. [Batchen describes reasons why vernacular photographs were written out of […]


Batchen, Geoffrey., ‘’fearful ghost of former bloom’: What Photography Is’ Where is the Photograph ed. by David Green (Brighton, Kent: Photoforum, Photoworks, 2003) 15-29 [Batchen discovers a large 19th century photo-object combining hair, waxen flowers, wreath, words and a photograph] p.19 Memory is here given a physical manifestation. Or perhaps it would be more accurate […]