Archive for the ‘The Collection’ Category
Dahlgren, Anna. ‘Dated Photographs: The Personal Photo Album as Visual and Textual Medium’, Photography & Culture, 3:2, 175-194 p.176 Unlike personal photo albums made after 1900, text is scarce in general in personal carte-de-visite albums and, especially, indications of when the images were taken are very rare. This characteristic seems to suggest a different view of […]
Filed under: Anna Dahlgren, Archive & Photography, Camera culture, Content vs Materiality of Photographs, Context and photography, Family album, Photography & Culture, Photography's Materiality, The Collection, Vernacular Photography, Writing/Literature & Photography | Leave a Comment
Making Meaning
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 […]
Filed under: Archive & Photography, Edited Books, Elizabeth Edwards and Janice Hart, Essays, Family album, Glenn Willumson, Mechanical Reproduction, Performance & Photography, Photography's Art History, Photography's Materiality, Role of Museum/Library, The Archive, The Collection, Touch/Tactile Perception, Vernacular Photography | Leave a Comment
Anne Hardy
Text from http://www.saatchi-gallery.co.uk/artists/anne_hardy.htm Strange, fantastical, and a wee bit unsettling, Anne Hardy’s photographs invite glimpses into imaginary places, each suggesting fictions of a very surreal nature. Working in her studio, Hardy builds each of her sets entirely from scratch; a labour intensive process of constructing a barren room, then developing its elaborate interior down to […]
Filed under: Ambiguity and Photography, Anne Hardy, Installation, Memory & Context, Memory Objects, The Collection | Leave a Comment
Arnaud Maggs – installations
Filed under: alternative photographic techniques, Archive & Photography, Arnaud Magg, Installation, Martha Langford, Materiality, Memory Objects, Photograph as Document, Photograph as object, The Archive, The Collection, Working with the archive | 3 Comments
Julian Walker
From his website: http://walkerjulian.tripod.com/id34.html Most of my work is site-specific; where it is not, it is strongly referencing an idea or set of ideas. In this sense it is reactive, exploring how I can understand specific bits of the world, or exploring how other people have done so. Hence my interest in museums, collections and […]
Filed under: Installation, Julian Walker, Materiality, Memory Objects, The Archive, The Collection, Touch/Tactile Perception, Working with the archive | Closed
Claudia Angelmaier
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 […]
Filed under: (re)constructing photographs, Archive & Photography, Claudia Angelmaier, Materiality, Mechanical Reproduction, Nostalgia for analogue photography, Photograph as object, Photography's Art History, The Archive, The Collection, Touch/Tactile Perception, using found photography, Vernacular Photography | Leave a Comment
Stewart, Susan. ‘Objects of Desire’ in On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection (Durham; London: Duke University Press, 1993) pp.132-169 Part II. The Collection, Paradise of Consumption pp.151-169 p.151 In contrast to the souvenir, the collection offers example rather than sample, metaphor rather than metonymy. The collection replaces history with […]
Filed under: Essays, Memory Objects, Susan Stewart, The Collection | Leave a Comment
