A Companion to Photography (eBook)

Stephen Bull (Herausgeber)

eBook Download: EPUB

2020
John Wiley & Sons (Verlag)
978-1-118-59880-1 (ISBN)

Infos

Stephen Bull is Course Leader for BA (Hons) Photography at the University of Brighton, UK. He is the author of Photography (2010), and has contributed essays to books including, Fifty Key Writers on Photography (2012) and Where Are The People?: Contemporary Photographs of Belfast 2002-2010 (2010).

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The study of photography has never been more important. A look at today's digital world reveals that a greater number of photographs are being taken each day than at any other moment in history. Countless photographs are disseminated instantly online and more and more photographic images are earning prominent positions and garnering record prices in the rarefied realm of top art galleries. Reflecting this dramatic increase in all things photographic, A Companion to Photography presents a comprehensive collection of original essays that explore a variety of key areas of current debate around the state of photography in the twenty-first century. Essays are grouped and organized in themed sections including photographic interpretation, markets, popular photography, documents, and fine art and provide comprehensive coverage of the subject. Representing a diversity of approaches, essays are written by both established and emerging photographers and scholars, as well as various experts in their respective areas. A Companion to Photography offers scholars and professional photographers alike an essential and up-to-date resource that brings the study of contemporary photography into clear focus.

Autor

STEPHEN BULL is a writer and Senior Lecturer in Photography at the University of Brighton. He is the author of Photography (2010) and Photography and Celebrity (2021, forthcoming) and since 1995 has been a regular contributor to books, conferences, and journals including Source: The Photographic Review. He has exhibited as an artist at venues such as Tate Britain and the Pingyao International Photography Festival, and has published photobooks including Meeting Hazel Stokes (2006). He has run courses at Tate Modern and is the host of the Photoworks talks series, Desert Island Pics.

Inhalt

List of Figures ix

Notes on Contributors xi

Acknowledgments xvii

1 Introduction: Photography in the Twenty-first Century 1
Stephen Bull

Part I Themes 9

2 Histories 11
Sabine T. Kriebel

3 Locating Photography 29
Christopher Pinney

4 The Participation of Time in Photography 49
Anthony Luvera

5 Photographic Acts and Arts of Memory 61
Martha Langford

6 The Indexical Imagination 85
David Bate

7 The Thingness of Photographs 97
Elizabeth Edwards

8 Beyond Representation?: The Database-driven Image and the Non-human Spectator 113
Katrina Sluis

Part II Interpretation 131

9 Semiotics 133
Paul Cobley and David Machin

10 A Culture of Texts 155
Matthew Lindsey

11 Psychoanalysis and Photography: Mary Kelly and Cindy Sherman 173
Kathy Kubicki

12 Reviewing the Gaze 189
Roberta McGrath

Part III Markets 209

13 Marketing Photography: Selling Popular Photography on the British High Street 211
Annebella Pollen

14 Advertising and Photography: Rhetoric and Representation 237
Malcolm Barnard

15 Fashion's Image: The Complex World of the Fashion Photograph 253
Karen de Perthuis

16 Value Systems in Photography 275
Francis Hodgson

Part IV Popular Photography 289

17 Snapshot Photography: History, Theory, Practice, and Esthetics 291
Catherine Zuromskis

18 Mobile Photography 307
Rachel K. Gillies

19 Famous for a Fifteenth of a Second: Andy Warhol, Celebrity, and Fan Photography 329
Stephen Bull

20 Boring Pictures: Photography as Art of the Everyday 351
Clare Gallagher

Part V Documents 369

21 "Things as they are": The Problematic Possibilities of Documentary 371
Ian Walker

22 Citizens' Photojournalism: History's New First Draft 393
David Brittain

23 Seeing is not Believing: On the Irrelevance of Looking in the Age of Operational Images 411
Edward Dowsett

24 Travel Books, Photography, and National Identity in the 1950s and 1960s, Seen Through the Prism of the LIFE World Library 429
Val Williams

Part VI Art 437

25 Photography's Conflicting Modernisms and Modernities 439
Sarah E. James

26 Spectacle and Anti-spectacle: American Art Photography and Consumer Culture 465
David Campbell and Mark Durden

27 What Can Photography Do?: Considerations on Photography's Potential as Contemporary Art 483
Hilde Van Gelder

28 Practicing Desires: Authorship in Contemporary Photographic Art 501
Fergus Heron

Index 527

Textauszug

Notes on Contributors

Malcolm Barnard is a Senior Lecturer in visual culture at Loughborough University (UK) where he teaches the history and theory of art and design. His interests lie in the theories and philosophies of fashion and graphic design and they are turning increasingly to photographic theory. His background is in recent French philosophy and he is the author of Graphic Design as Communication (Routledge, 2005), Fashion as Communication (Routledge, 2002), Approaches to Understanding Visual Culture (Palgrave, 2001) and Art, Design and Visual Culture (Macmillan, 1998). He is also the editor of Fashion (Routledge, 2011) and Fashion Theory (Routledge, 2007).

David Bate is an artist and writer based in London. He is Professor of Photography at the University of Westminster, London, UK. Recent publications include the books Photography: Key Concepts, second edition (Bloomsbury, 2016), Art Photography (Tate Publications, 2015), Zone (Artwords, 2012), Photography: Key Concepts (Berg, 2009), and Photography and Surrealism (I.B Tauris, 2004). Forthcoming works include a monograph of visual work called Notes on Otherness.

David Brittain is a writer, curator and former editor of Creative Camera magazine (1991–2001). He is MIRIAD Research Associate and Senior Lecturer in Photography at Manchester Metropolitan University. David edited Creative Camera: 30 Years of Writing (2000) and conceived and was essayist for The Jet Age Compendium: Paolozzi at Ambit (2009).

Stephen Bull is a writer, artist and lecturer. He is a Senior Lecturer in Photography at the University of Brighton, UK. As well as editing this Companion to Photography, he is the author of Photography (Routledge, 2010) and Photography and Celebrity (forthcoming, Bloomsbury). He has contributed to books including Mark Durden (ed.) Fifty Key Writers on Photography (Routledge, 2013) and magazines and journals such as Source: The Photographic Review, Photoworks and Photography and Culture. His books of photographs include Meeting Hazel Stokes (Neroc'VGM, 2006), a series of found snapshots of celebrities with a theater usherette, which was also exhibited at Tate Britain as part of How We Are: Photographing Britain in 2007. He originated and hosts Desert Island Pics, an ongoing series of live events with Photoworks.

David Campbell is Professor of Fine Art at Northumbria University. He is a founding member of the artists' group Common Culture and exhibits internationally. He has published on Sigmar Polke and art and commodity culture. With Mark Durden, Campbell co‐wrote Variable Capital (Liverpool University Press, 2007) and Double Act: Art and Comedy (Bluecoat, 2016).

Paul Cobley is Professor in Language and Media at Middlesex University. His books, include Cultural Implications of Biosemiotics (2016), Narrative, second edition (2014), and the edited collections The Communication Theory Reader (1996), Communication Theories, 4 vols. (2006), The Routledge Companion to Semiotics (2010), and “Semiotics Continues to Astonish”: Thomas A. Sebeok and the Doctrine of Signs (2011).

Karen de Perthuis is a Lecturer in the School of Humanities and Communication Arts at Western Sydney University. Her work exploring the intersection of fashion, media and the body has been published in a range of journals, including Fashion Theory, Cultural Studies Review, About Performance and Film, Fashion & Consumption, as well as in several edited volumes. She is currently working on a monograph, The Fashionable Ideal: Bodies and images in Fashion.

Edward Dowsett is a practicing artist and writer. He holds a BA in Photography from the London College of Communication. His research interests include photography's uses in the contemporary technological/media landscape, cultural theory, and semiotics.

Mark Durden is currently Professor of Photography at the University of South Wales. He has written extensively on contemporary art and photography. His Photography Today (2014) has now been translated into Chinese, Turkish, French, and Spanish. With David Campbell, Durden has co‐curated major exhibitions on consumer culture and art and comedy as well as co‐writing two related books, Variable Capital (2008) and Double Act: Art and Comedy (2016). They have also co‐authored an essay on Andy Warhol's film The Chelsea Girls for the BFI publication Warhol in Ten Takes. Durden works as an artist with Campbell and Ian Brown, exhibiting regularly as the collective Common Culture.

Elizabeth Edwards is Professor and Director of the Photographic History Research Centre. A visual and historical anthropologist, she has held academic and curatorial posts at Oxford and London works on the complex relationships between photographs, anthropology, and history, in many different contexts from field to museum exhibitions. In particular, she has developed anthropological methods for the analysis of a wide range of photographs and their archives, drawing on phenomenological anthropology and material culture studies. She is especially interested in the social and material practices of photography’s historical and contemporary contexts, and has published extensively in the field. Her most recent book is The Camera as Historian: Amateur Photographers and Historical Imagination 1885–1918, on the photographic survey movement England (Duke University Press, 2012).

Clare Gallagher is Lecturer and Course Director for the BA (Hons) Photography at the Belfast School of Art, Ulster University. Her photographic practice and research examine everyday domestic activities and experiences. Her current focus is “women's work” and finding room for ingenuity and resistance to expectations about home.

Rachel K. Gillies is an artist, educator and writer. She is currently Senior Lecturer in Photography at the University of Brighton, UK, with Course Leadership of BA (Hons) Photography, and previously was Senior Lecturer and Course Co‐ordinator of Photography at Dunedin School of Art, NZ. Her practice engages with contemporary photography as it responds to digital process and visual communication.

Fergus Heron is an artist, photographer and Senior Lecturer in photography at the University of Brighton, with Course Leadership of MA Photography. His writing is included in Emerging Landscapes: Between Production and Representation (London, 2014), Visible Economies: Photography, Economic Conditions and Urban Experiences (Brighton, 2012), and Eventful: Photographic Time (London, 2000).

Francis Hodgson is Professor in the Culture of Photography at the University of Brighton. He is the longstanding photography critic of the Financial Times and a former head of the photographs department at Sotheby's. He is one of the founders of the Prix Pictet, the richest prize in photography, given for pictures on the theme of the environment and sustainable development. He has been a gallerist, a creative director in industries centred upon the photograph, and a curator. Hodgson is also an art adviser specializing in fine photographs who advises on many aspects of collections (public and private). Hodgson has served upon many prize juries and awards.

Sarah E. James is an art historian, writer and lecturer based in Frankfurt. From 2010‐2017 she was a Lecturer at University College London, where she taught on photography and art in the twentieth century, photographic modernity, and art and culture during the Cold War. Her first book, Common Ground: German Photographic Cultures Across the Iron Curtain, was published by Yale University Press in 2013. Her second, Paper Revolutions: An Invisible Avant‐Garde, is forthcoming with MIT Press. She is currently a Paul Mellon Fellow completing her third book project, The Militant & the Mainstream: The Remaking of British Photographic Culture. She has published numerous chapters, articles and essays on photography and contemporary art.

Sabine T. Kriebel has taught photography and photography theory at the University College Cork, Ireland, since 2004. Her recent books include Revolutionary Beauty: John Heartfield's Radical Photomontages (University of California Press, 2014) and Photography and Doubt (Routledge, 2016), co‐edited with Andrés M. Zervigón.

Kathy Kubicki is Senior Lecturer in Critical and Historical Studies at Kingston University, UK, editor of peer‐reviewed journal Photography & Culture (Routledge). Her research includes poststructural philosophies, women artists, and psychoanalytic theory. Recently she contributed to Twenty Years of Make Magazine: Back to the Future of Women's Art (I.B. Tauris: 2015).

Martha Langford is Research Chair and Director of the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art and a Professor of Art History at Concordia University in Montreal, Canada. Her publications include Suspended Conversations: The Afterlife of Memory in Photographic Albums (2001); Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art (2007); and A Cold War Tourist and His Camera, co‐written with John Langford (2011).

Matthew Lindsey is a Senior Lecturer in Photography at UCA, Farnham. He has exhibited works in a number...

Produkt-Details

• Erscheint lt. Verlag: 3.2.2020
• Sprache: englisch
• Themenwelt: Kunst / Musik / Theater ► Fotokunst
• Themenwelt: Sachbuch/Ratgeber ► Freizeit / Hobby ► Fotografieren / Filmen
• Schlagworte: Art & Applied Arts • Camera • contemporary photography • digital camera • Digital Photography • Digital World • discussion • Essays • Fine Art • Geschichte • Geschichte u. Theorie der Fotografie • Global Photography • images • interpretation</p> • Kunst u. Angewandte Kunst • <p>Photograph • Personal photography • Photo • photographic theory • Photography History & Theory • Popular Photography • Research • Scholarship • sharing photos • Social Media
• ISBN-10: 1-118-59880-6 / 1118598806
• ISBN-13: 978-1-118-59880-1 / 9781118598801