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The Photograph that Took the Place of a Mountain. Essays and Other Writings on Photography and Art
This diverse collection of writings by Taco Hidde Bakker addresses the philosophy, politics, and art of photography, with topics ranging from the tension between artist and model to the landscapes of the American West and the predicament of transcultural photography. Bakker selected and revised sixteen pieces of writing from a variety of publications spanning the past decade of his journeys through photography and art. In addition, he penned four new pieces especially for this book. Often engaging in close collaboration with the artists about whose work he writes, Bakker explores different literary forms in response to their views, with a recurring reference to poetry.
Bart Lunenburg. This Creaking Floor and All the Ceilings Below
Where does a book begin and a building end? 'This Creaking Floor and All the Ceilings Below' brings together many different facets from the artistic practice of Bart Lunenburg, and his explorations in the built world. Including reproductions of photographs, drawings, scale models, installations, film stills, and exhibition views, this labyrinthine book is conceived as an imaginary building. The viewer-visitor is guided along foundations, corridors, rooms brimming with sunlight, radiant windows, concealed doors, enfilades, winding staircases, banisters, and a woven wall.
Why Exhibit?
This publication offers a spectrum of views on how the myriad forms of exhibiting photographies can increase our understanding of how images operate today, as well as what they do to us when we interact with them. In the Digital Age, "photography" is best described with adjectives connoting a medium in constant flux: liquid, fluid, flexible, unstable. As such, there is no primary format for displaying photographs. By drawing upon the diverse perspectives of a group of curators, scholars, photographers, and artists based in the field of contemporary photography, this volume aims to provide a foundation for a wider discourse about exhibiting photographies in the twenty-first century.
Capturing the Light
Capturing the Light starts with a tiny scrap of purple-tinged paper, 176 years old and about the size of a postage stamp. On it you can just make out a tiny, ghostly image of a gothic window, an image so small and perfect that it 'might be supposed to be the work of some Lilliputian artist': the world's first photographic negative. This captivating book traces the lives of two very different men in the 1830s, both racing to be the first to solve one of the world's oldest problems: how to capture an image and keep it for ever. On the one hand there is Henry Fox Talbot: a quiet, solitary gentleman-amateur tinkering away on his farm in the English countryside. On the other Louis Daguerre, a flamboyant, charismatic French showman in search of fame and fortune. Only one question remains: who will get there first?
The Art of Frederick Sommer
"With an essay by photo historian Keith F. Davis, reproductions of Sommer's diverse works, and a detailed chronology of his life by April M. Watson, The Art of Frederick Sommer describes and documents the full scope of the artist's achievement as a twentieth-century visionary. The book is a revelation for scholars, artists, students, and everyone who appreciates the power of art to transform, transcend, and inspire."--BOOK JACKET.
Sharing Knowledge & Cultural Heritage
Sharing Knowledge & Cultural Heritage (SK & CH), First Nations of the Americas, testifies to the growing commitment of museum professionals in the twenty-first century to share collections with the descendants of people and communities from whom the collections originated. Thanks to collection histories and the documenting of relations with particular indigenous communities, it is well known that until as recently as the 1970s, museum doors - except for a handful of cases - were shut to indigenous peoples. This volume is the result of an ""expert meeting"" held in November 2007 at the National M ...
Creating Authenticity
‘Authenticity’ and authentication is at the heart of museums’ concerns in displays, objects, and interaction with visitors. These notions have formed a central element in early thought on culture and collecting. Nineteenth century-explorers, commissioned museum collectors and pioneering ethnographers attempted to lay bare the essences of cultures through collecting and studying objects from distant communities. Comparably, historical archaeology departed from the idea that cultures were discrete bounded entities, subject to divergence but precisely therefore also to be traced back and linked to, a more complete original form in de (even) deeper past. Much of what we work with today in ...
The Essay At the Limits
In the hands of such writers as Rebecca Solnit, Claudia Rankine, David Shields, Zadie Smith and many others, the essay has re-emerged as a powerful literary form for tackling a fractious 21st-century culture. The Essay at the Limits brings together leading scholars to explore the theory, the poetics and the future of the form. The book links the formal innovations and new voices that have emerged in the 21st-century essay to the history and theory of the essay. In so doing, it surveys the essay from its origins to its relation to contemporary cultural forms, from the novel to poetry, film to music, and from political articles to intimate lyrical expressions. The book examines work by writers such as: Theodor W. Adorno, Kwame Anthony Appiah, Francis Bacon, James Baldwin, Roland Barthes, Maurice Blanchot, Ta-Nehisi Coates, Annie Dillard, Brian Dillon, Jean Genet, William Hazlitt, Samuel Johnson, Karl Ove Knaussgaard, Ben Lerner, Audre Lorde, Oscar Wilde, Michel de Montaigne, Zadie Smith, Rebecca Solnit, Wallace Stevens, Eliot Weinberger and Virginia Woolf.
