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Why Art Photography?
The second edition of Why Art Photography? is an updated, expanded introduction to the ideas behind today’s striking photographic images. Lively, accessible discussions of key issues such as ambiguity, objectivity, fiction, authenticity, and photography’s expanding field are supplemented with new material around timely topics such as globalization, selfie culture, and photographers’ use of advanced digital technologies, including CGI and virtual reality. The new edition includes: an expanded introduction extended chapters featuring emerging trends a larger selection of images, including new color images an improved and expanded bibliography This new edition is essential for students looking to enrich their understanding of photography as a complex and multi-faceted art form.
In the Room IV
As Lucy Soutter mentioned in her book : The viewpoint of the image places us right on the street and makes us aware of the photographer's physical presence. （p.46, why Art photography）This is one of the reasons for me to choose street shoot.Zhou's work explores the invisible barrier among people of different social classes. Such intangible isolation is considered as the psychological distance between people. In Zhou's work, be it human portraits or city landscapes, there is always a deep undercurrent of feeling, which makes most pictures neither vivid nor visually impacting at the first glance. However, standing in front of the works, the work tries to prove that in reality, such isolation is also a sense of security with self-defence.
Telling Tales
Published on the occasion of an exhibition held at the McNay Art Museum, San Antonio, Texas, September 28, 2016-January 8, 2017.
Role Models
In today's image-conscious world, photography is one of the most powerful mediators of our sense of self. Exploring the ways in which female identity is constructed and mediated through the art of photography is the central theme of this fascinating, fully illustrated book, published to accompany a major exhibition at the National Museum of Women in the Arts in Washington, D.C. This book features the work of two generations of artists whose portraiture, self-portraiture, and narrative photographs have indelibly inflected our understanding of gender and identity over the past thirty years. More specifically, it focuses on how role models and role-playing have been central to the art, meaning,...
The Photographic Object 1970
"In 1970, photography curator Peter C. Bunnell organized the exhibition Photography into Sculpture for the Museum of Modern Art in New York, bringing together twenty-three photographers and artists from across the United States as well as Vancouver, British Columbia, whose work challenged accepted practices and categories. The Photographic Object 1970 serves as an exhibition catalogue after the fact, an oral history, and critical reading of exhibitions and experimental photography during the 1960s and 70s. It proposes precedents for contemporary artists who continue to blur the boundaries between photography and other art mediums."--Provided by publisher.
Blueprint 2017-20
Blueprint 2017-20 explores how the mass media has influenced political debates and democratic processes during the process of Brexit. Norman Behrendt's photographs of Brexit-related video material examine what sort of imagery is used to influence people by stirring up deep-seated attitudes around national pride, immigration and lack of control. The blue color of the cyanotypes reflects the invisible influence of the European Union on the United Kingdom. When Norman Behrendt arrived in London from Berlin in August 2017, he set out to document Britain in the period of its transition out of the EU. He crisscrossed the Remain-voting capital and its Brexit-voting outer suburbs by bicycle, foot an...
Photography
Providing a thorough and comprehensive introduction to the study of photography, this second edition of Photography: The Key Concepts has been expanded and updated to cover more fully contemporary changes to photography. Photography is a part of everyday life; from news and advertisements, to data collection and surveillance, to the shaping of personal and social identity, we are constantly surrounded by the photographic image. Outlining an overview of photographic genres, David Bate explores how these varied practices can be coded and interpreted using key theoretical models. Building upon the genres included in the first edition – documentary, portraiture, landscape, still life, art and ...
The Photography Reader
The Photography Reader is a comprehensive introduction to theories of photography; its production; and its uses and effects. Including articles by photographers from Edward Weston to Jo Spence, as well as key thinkers like Roland Barthes, Victor Burgin and Susan Sontag, the essays trace the development of ideas about photography. Each themed section features an editor's introduction setting ideas and debates in their historical and theoretical context. Sections include: Reflections on Photography; Photographic Seeing; Coding and Rhetoric; Photography and the Postmodern; Photo-digital; Documentary and Photojournalism; The Photographic Gaze; Image and Identity; Institutions and Contexts.
Disturbed Ecologies
The imaginaries of northern landscape have not remained static in the era of ecological crisis but play a pivotal function within the geopolitics of visual representation. Such imaginaries can sanction those dominant discourses that frame environmental catastrophe as the consequence of undifferentiated human activity, but, it is argued, they also have the capacity to represent a complexity and heterogeneity frequently absent from this broad discursive field. The contributors to this volume engage with the practice, curation and utilization of photography and other lens-based media, to examine the critical role of visual culture in shaping and interrogating conceptions of environmental catastrophe.
Handbook of Research on the Relationship Between Autobiographical Memory and Photography
Autobiographical memory and photography have been inextricably linked since the first photographs appeared during the 19th century. These links have often been described from each other's discipline in ways that often have led to misunderstandings about the complex relationships between them. The Handbook of Research on the Relationship Between Autobiographical Memory and Photography covers many aspects of the multiple relationships between autobiographical memory and photography such as the idea that memory and photography can be seen as forms of mental time and the effect photography has on autobiographical memory. Covering key topics such as identity, trauma, and remembrance, this major reference work is ideal for industry professionals, sociologists, psychologists, artists, researchers, scholars, academicians, practitioners, educators, and students.
