Archive for the ‘Photography's Art History’ 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 […]


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 […]


Flusser, Vilem. ‘Photography and History’ Writings translated by Andreas Ströhl (Minneapolis: University of Minnesota Press, 2002) 126-131 [originally published in 1989] p.126 We should differentiate between prehistoric, historical, and posthistorical images, and we should consider the photograph to be the first posthistorical image. Prehistoric images are those that were produced before the invention of linear writing. Historical images […]


McCauley, Anne. ‘Overexposure: Thoughts on the Triumph of Photography’, The Meaning of Photography ed. by Robin Kelsey and Blake Stimson (Williamstown, MA: Sterling and Francine Clark Institute, 2005) 159-162 p.159 [discusses photography’s acceptance into art institutions] p.160 Museums became infotainment for people who wanted to walk rather than sit in front of screens when escaping from their […]


Buse, Peter. ‘Surely Fades Away’, Photographies, 1:2, 221 – 238 [discussion of Robert Adams & Polaroid] However, far from being some sort of special case or exception to the rule, Polaroid’s relationship with Adams simply crystallizes a problematic of value that runs right through the history of instant photography: its simultaneous association with both high […]


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 […]


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. […]


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 […]


Politics

28Nov11

Cadava, Eduardo. ‘Politics’ Words of Light: Theses on the Photography of History (Chichester: Princeton University Press, 1997) 44-47 p.44 What is at stake in the question of technological reproducibility – in the question of photography, for example – is not whether photography is art, but in what way all art is photography. For Benjamin, as soon as […]


Making Meaning

10Oct11

Willumson, Glenn. ‘Making Meaning: Displaced materiality in the library and art museum’ Photographs Objects Histories: On the materiality of images ed. by Elizabeth Edwards and Janice Hart (London: Routledge, 2004) 62-80 p.62 Although they are initially treasured for their ability to reproduce a person, an event or a location, the passage of time is not […]


In Our Image

29Sep11

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 […]


Flusser, Vilém. ‘The Technical Image’ Towards a Philosophy of Photography (London: Reaktion Books, 2000) 14-20 p.14 The technical image is an image produced by apparatuses. As apparatuses themselves are the products of applied scientific texts, in the case of technical images one is dealing with the indirect products of scientific texts. This gives them, historically […]


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, […]


From http://www.claudiaangelmaier.de/index.php The play with the images of art and their history is at the heart of Claudia Angelmaier’s work whereby particular focus lies on the pictures and their mechanical reproduction, material image and contextual situation. The protagonists of Angelmaier’s large-scale photographic works are books, postcards or transparencies and slides which show copies of “the […]


p.3 Barthes ‘wanted to learn at all costs what Photography was “in itself,” by what essential feature it was to be distinguished from the community of images. p.4 What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially. p.5 The Photograph is never anything but […]


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] […]


Benjamin, Walter., ‘A Short History of Photography’ One-Way Street (London: Verso, 1979; 1997) 240–257 p.243 Immerse yourself in such a picture long enough and you will recognise how alive the contradictions are, here too: the most precise technology can give its productsa magical value, such as a painted picture can never again have for us. […]


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 […]


“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 […]