Archive for the ‘Identification & Photography’ Category
Sekula, Allan. ‘On the Invention of Photographic Meaning’ Thinking Photography ed. by Victor Burgin (London: Palgrave Macmillan, 1982) 84-109 p.84 The meaning of a photograph, like that of any other entity, in inevitably subject to cultural definition. The task here is to define and engage critically something we might call the ‘photographic discourse’. A discourse is defined […]
Filed under: Allan Sekula, Context and photography, Identification & Photography, Indexicality & Photography, Language, Photograph as Document, Photography's Art History, Pointing & Photography, Technology/Media, Vernacular Photography, Writing/Literature & Photography | Leave a Comment
McInnes, Marnie. ‘A Meditation on Poetry and Photography’ Photographies, 5:1 (March 2012) 19-32 p.19 In 26 lines describing a fairly ordinary landscape, Atwood encapsulates key paradoxes of photography as a medium; indeed, one way of reading her poem is as a compact essay on the ontology of the photographic image. As a poem, however it […]
Filed under: Content vs Materiality of Photographs, Identification & Photography, Images and reality, Language, Marnie McInnes, Melancholy/Death & Photography, Oral/Spoken Culture, Photographies, Time and photography, Writing, Writing/Literature & Photography | Leave a Comment
Speaking the Album
Langford, Martha. ‘Speaking the Album: An Application of the Oral-Photographic Framework’ Locating Memory: Photographic Acts ed. by Annette Kuhn and Kirsten Emiko McAllister (Oxford: Berghahn Books, 2006) 223-246 p.223 […] attention to the photographic album since the mid-1960s can be said to constitute in itself a model ‘thought community’, an idea of album sustained by […]
Filed under: Edited Books, Essays, Familial relations & Photography, Family album, Found photographs, Identification & Photography, Martha Langford, Memory & Photography, Memory and reconstruction, Memory Objects, Narrative & Photography, Observer & the Photograph, Orality & Photography, Performance & Photography, Personal Responses to Images, Photography as Historical Witness, Storytelling, Vernacular Photography, Writing/Literature & 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
The End, Secular Aura
Price, Mary. ‘The End, Secular Aura’ The Photograph: A Strange, Confined Space (Stanford, CA: Stanford University Press, 1994) 173-177 p.173 Each of the metaphors used, whether the term is aura, mask, or language, illuminates the idea of the photograph. Benjamin, Proust, Musil, and Barthes, as well as Keats with his negative capability, are all saying, in individual poetic […]
Filed under: Ambiguity and Photography, Archive & Photography, Identification & Photography, Images and reality, Magic/Uncanny & Photography, Mary Price, Memory & Photography, Personal Responses to Images, 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
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, […]
Filed under: Banality & Photographs, Essays, Geoffrey Batchen, Identification & Photography, Mechanical Reproduction, Observer & the Photograph, Photography's Art History, Touch/Tactile Perception, Vernacular Photography, Walter Benjamin | Leave a Comment
Stories
Berger, John. ‘Stories’ Another Way of Telling by John Berger and Jean Mohr (Cambridge: Granta Books, 1982) 277-289 p.280 A photograph is simpler than most memories, its range more limited. Yet with the invention of photography we acquired a new means of expression more closely associated with memory than any other. Both the photograph and the […]
Filed under: Ambiguity and Photography, Essays, Identification & Photography, John Berger, Memory & Photography, Narrative & Photography, Time and photography | Leave a Comment
Lorie Novak: Interiors
Empty rooms are filled with “projections” replaying psychological and emotional events. http://lorienovak.com/
Filed under: Familial relations & Photography, Family album, Identification & Photography, Installation, Lorie Novak, Memory & Context, Memory & Photography, using projection, Vernacular Photography | Leave a Comment
June Clark
Amazing work using and manipulating found photographs. “June was born and brought up in Harlem, New York City. She emigrated to Canada in 1968, became a Canadian citizen and currently lives and works in Toronto.” Date made: 1989 Materials: photo etching (with text) Text reads: Grandma said, “when you pick your husband, think of what […]
Filed under: (re)constructing photographs, Ambiguity and Photography, Familial relations & Photography, Identification & Photography, Installation, June Clark, Memory & Photography, Memory Objects, Narrative & Photography, Personal Responses to Images, using found photography, Vernacular Photography | Leave a Comment
Olin, Margaret., ‘Touching Photographs: Roland Barthes’s “Mistaken” Identification’ in Photography Degree Zero: Reflections on Roland Barthes’s Camera Lucida ed. by Geoffrey Batchen (London: MIT, 2009) 75-89 p.75 A photograph enjoys an unusually close relationship to its referent, acording to a widespread theory about the nature of photography. As this theory would have it, the key […]
Filed under: Essays, Identification & Photography, Margaret Olin, Memory & Photography, Personal Responses to Images, Studium/Punctum, Vernacular Photography | Leave a Comment
Family Frames: Introduction
Hirsch, Marianne., Family Frames: Photography, Narrative and Postmemory (London: Harvard University Press, 1997) p.2 Barthes cannot show us the photograph because we stand outside the familial network of looks and thus cannot see the picture in the way that Barthes must. To us it would be just another generic family photograph. The picture of his […]
Filed under: Books, Essays, Familial relations & Photography, Identification & Photography, Marianne Hirsch, Observer & the Photograph, Personal Responses to Images, Phenomenology, Studium/Punctum | Leave a Comment
Will Image Move Us Still?
“Will Image Move Us Still” by Kevin Robins, pp.29-50. The Photographic Image in Digital Culture, edited by Martin Lister, London, Routledge, 1995. p.30 The fact that technological development is seen as some kind of transcendent and autonomous force – rather than what it really is, that is to say embedded in a whole array of […]
Filed under: Analogue - Digital, Content vs Materiality of Photographs, Identification & Photography, Kevin Robins, Melancholy/Death & Photography, Observer & the Photograph, Personal Responses to Images, Photography and Positivism, Photography's Art History, Post-photography Theories | Leave a Comment
“Photographic Anamnesia: The Past in the Present” Mette Sandbye in Symbolic Imprints: Essays on Photography and Visual Culture, edited by Lars Kiel Bertelson, Rune Gade, and Mette Sandbye, Aaphus University, Oxford, 1999. p.181 [Sandbye disagrees with Sontag’s view that ‘To possess the world in the form of images is, precisely, to re-experience the unreality and remoteness […]
Filed under: Christian Boltanski, Essays, Identification & Photography, Memory & Photography, Mette Sandbye, Observer & the Photograph, Photography and Unconscious, Photography as Historical Witness, Postmodernism and Memory, Shimon Attie, Studium/Punctum | Closed
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