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Well, what is Photography?
In this accessible and eloquent book-length essay, Urs Stahel, writer, curator, and co-founder of the Fotomuseum Winterthur, muses on the very nature of photography. Chapters on industrial photography, staged and conceptual photography, and the current crisis of photojournalism provide a panoramic overview of the possibilities and challenges of photography in all of its variety, from the casual snapshot to art and commercial photography. Destined to become a standard work, this essay is a must-read for anyone interested in thinking about photography.
Rineke Dijkstra
"L'auteur photographie des adolescents ou de jeunes adultes -baigneurs, mamans accouchées, jeunes Israéliens avant et après leur engagement dans l'armée, etc.- à un moment crucial de leur vie.
Anna Stüdeli: Primal
Over 120 close-up photographs uncover the ideologies behind contemporary advertising imagery In Primal, close-up details of advertisements reveal both the visual tropes of Western advertising aesthetics and the uncanniness of the images themselves. Together, these photographs depict a society steeped in clichés, biases and sexual stereotypes.
The Ecstasy of Things
The twentieth century was--among all else--a century of things. From the handmade object to the mass produced, these things that once served a purpose soon became harbingers of beauty, modernity and innovation. Beyond the material, these objects have stimulated fantasies that convey an image about a time and a place, so that now even an everyday telephone or radio that has long been discontinued can experience a rebirth as a cult object only to be purchased for lofty sums of money at an auction. "The Ecstasy of Things" illustrates how product photography reflects the world of things as captured in varying lights for designers, manufacturers and advertising agencies. Collected here are nearly...
A Class of Their Own
The pioneer group of the Düsseldorf School The ‘Düsseldorf School’ has become a household name in the art world for one of the most successful and influential strains of modern photography. Coined in the late 1980s, the name refers mainly to the pioneer group of students of the late Bernd Becher, who in 1976 became the first professor for creative photography at a German arts academy. His students included Andreas Gursky, Candida Höfer, Axel Hütte, Thomas Ruff, and Thomas Struth, all of them today internationally acclaimed artists in their own right. Whereas ‘Düsseldorf School’ initially was used as a handy term for a group of artists with the same university’s background, it quickly turned into a powerful brand name both in critical and commercial contexts. Despite its welcomed impact on the art scene, the members of the ‘School’ felt rather ambiguous about their perception as a group which turned them into stars but simultaneously risked levelling individual profiles and differences. What exactly connects and distinguishes them aesthetically is for the first time thoroughly explored in Maren Polte’s pioneering study.
The Domestic Interior and the Self in Contemporary Photography
By carefully conceptualising the domestic in relation to the self and the photographic, this book offers a unique contribution to both photography theory and criticism, and life-narrative studies. Jane Simon brings together two critical practices into a new conversation, arguing that artists who harness domestic photography can advance a more expansive understanding of the autobiographical. Exploring the idea that self-representation need not equate to self-portraiture or involve the human form, artists from around the globe are examined, including Rinko Kawauchi, Catherine Opie, Dayanita Singh, Moyra Davey, and Elina Brotherus, who maintain a personal gaze at domestic detail. By treating the representation of interiors, domestic objects, and the very practice of photographic seeing and framing as autobiographical gestures, this book reframes the relationship between interiors and exteriors, public and private, and insists on the importance of domestic interiors to understandings of the self and photography. The book will be of interest to scholars working in photographic history and theory, art history, and visual studies.
Death, Dying, Culture: An Interdisciplinary Interrogation
This volume was first published by Inter-Disciplinary Press in 2013. This inter- and multi-disciplinary volume examines how culture impacts care for the dying, the overall experience of dying, and ways the dead are remembered. Over the past three decades, scholarship in thanatology has increased dramatically. This text localizes a broad array of perspectives that research, analyze, and interpret the many interrelations and interactions that exist between death and culture. Culture not only presents and portrays ideas about ‘a good death’ and norms that seek to achieve it, but culture also operates as both a vehicle and medium through which meaning about death is communicated and understood. Sadly, too, culture sometimes facilitates death through violence.
Benzin
None
Visioning Technologies
Visioning Technologies brings together a collection of texts from leading theorists to examine how architecture has been, and is, reframed and restructured by the visual and theoretical frameworks introduced by different ‘technologies of sight’ – understood to include orthographic projection, perspective drawing, telescopic devices, photography, film and computer visualization, amongst others. Each chapter deals with its own area and historical period of expertise, organized sequentially to mark out and analyse the historical evolution of how architecture has been transformed by technologically induced shifts in human perception from the 15th century until today. This book underlines the way in which architectural forms and design processes have developed historically in conjunction with the systems of sight we manufacture technologically and suggests this continues today. Paradoxically, it is premised on the argument that these technological systems tend, in their initial formulations, to obtain ever greater realism in our visualizations of the physical world.
Can We Cope with the Complexity of Reality? Why Craving Easy Answers Is at the Root of our Problems
Education for a viable future has never been more important than in our era of climate change, fake news, self-illusions, and political upheaval. Whether humanity will have a dignified future hangs in the balance. The urgency of finding sound solutions to a number of complex problems is obvious. We can’t really allow ourselves to get it wrong, but the temptation to fall for easy, convenient answers is considerable. This book focuses on emerging insights from various fields which allow us to collectively build evidence-based and wise solutions. This requires us to clarify how to arrive at a sound understanding of reality, which belief-systems and ideologies impede this understanding, and which issues need to be addressed as a matter of urgency. We cannot solve the climate crisis or any other pressing problems besetting humanity by using mental models which are demonstrably flawed. We ignore important findings and insights in fields unfamiliar to us at our peril. Whatever our professional field, we need to self-critically reflect on the conclusions presented in this book in order to increase the quality and efficacy of our educational interventions for a better world.
