Archive for the ‘Anonymity/Authorship & Photography’ Category
Photographic Initiatives
Van Lier, Henri. Philosophy of Photography, Lieven Gevaert Series, 6, New ed. (Leuven: Univ. Press, 2007) ‘Part Two: Photographic Initiatives’ p.53 Up until photography’s arrival on the scene, human beings had a sense of mastery and creation in almost every domain. Both artisans and artists were responsible for their project just as much as for […]
Filed under: Anonymity/Authorship & Photography, Henri van Lier, Technology/Media | Leave a Comment
Schwartz, Joan M; Ryan, James R. ‘Photography and the Geographical Imagination’ Picturing Place: Photography and the Geographical Imagination ed. by Joan M. Schwartz and James R. Ryan (London: I.B.Taurus, 2003) 1-18 p.1 More than one hundred and fifty years later – despite ongoing and unresolved debates over the status of photography as a fine art and over […]
Filed under: Anonymity/Authorship & Photography, Content vs Materiality of Photographs, Distribution (etc) of Photographs, Edited Books, Images and reality, Introduction, Invention of photography, James R Ryan, Joan M Schwartz, Photograph as Document, Photography and Place, Photography and Positivism, Photography's Art History, Photography's Materiality, Politics & Photography, Space and photography, Vernacular Photography | Leave a Comment
Sense of Location
Wells, Liz. ‘Sense of Location: Topography, Journey, Memory’ (London: I.B.Taurus, 2011) 261-302 p.261 [describing Jem Southam’s ‘River Hayle January 2000’] However, naturalised, this is a landscape that has been subject to extensive human intervention – the markers are there for our information, whether we are physically present, or viewers of photographs which operate in observational […]
Filed under: Anonymity/Authorship & Photography, Books, Essays, Liz Wells, Memory & Context, Memory & Photography, Memory and reconstruction, Observer & the Photograph, Performance & Photography, Photography and Place, Space and photography, Touch/Tactile Perception | Leave a Comment
Landscapes without memory
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. […]
Filed under: Ambiguity and Photography, Analogue - Digital, Anonymity/Authorship & Photography, Banality & Photographs, Essays, Geoffrey Batchen, Images and reality, Indexicality & Photography, Joan Fontcuberta, Photography and Place, Photography's Art History, Post-photography Theories, Review essay, Vernacular Photography | Leave a Comment
Snapshots
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 […]
Filed under: Analogue - Digital, Anonymity/Authorship & Photography, Camera culture, Familial relations & Photography, Found photographs, Geoffrey Batchen, Identification & Photography, Indexicality & Photography, Memory & Photography, Memory Objects, Narrative & Photography, Observer & the Photograph, Photographies, Photography's Art History, Photography's Materiality, Vernacular Photography, Writing/Literature & Photography | Leave a Comment
Smith, Shawn Michelle. ‘Race and Reproduction in Camera Lucida’ Photography:Theoretical Snapshots ed. by Long, J.J., Nobel, Andrea, and Welch, Edward (Oxon: Routledge, 2009) pp.98-111 p.98 A close reading of [Camera Lucida] discovers that many of Barthes’s most important and influential insights are informed by complicated, and sometimes vexing, personal-political inclinations. Indeed, Barthes’s very conception of photography is […]
Filed under: Anonymity/Authorship & Photography, Context and photography, Edited Books, Essays, Familial relations & Photography, Identification & Photography, Indexicality & Photography, Memory & Photography, Memory and reconstruction, Observer & the Photograph, Personal Responses to Images, Politics & Photography, Shawn Michelle Smith, Studium/Punctum, Writing/Literature & Photography | Leave a Comment
In Our Image
Morris, Wright. ‘In Our Image’ Time Pieces: Writing, Photography and Memory (London: Aperture, 1999) 1-10 [Originally published in The Massachusetts Review, Winter 1978] p.4 The multifaceted aspect of reality has been commonplace since cubism, but we continue to see what we will, rather than what is there. Image making is our preference for what we […]
Filed under: Anonymity/Authorship & Photography, Books, Criticism of Photography, Essays, Found photographs, Image Proliferation, Invention of photography, Mechanical Reproduction, Moving Image & Photography, Photography's Art History, Vernacular Photography, Wright Morris | Leave a Comment
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