Reading photography: a sourcebook of critical texts 1921 - 2000
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| Schriftenreihe: | Art in context
Sources of surrealism |
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| adam_text | Reading Photography
A Sourcebook of Critical Texts
1921-2000
Sri-Kartini Leet
Lund Humphries
Contents
introduction: Art History Sources and Documents: Art in Context
»
Chronology:
1920-2000 xviii
Selected Bibliographies: Anthologies and References on the History of Photography
m
Acknowledgements
xxviii
Chapter
1 :
Photography as Art
]
1.
Minor White,
Піе
Camera Mind and Eye , Magazine of Art, Washington D.C.: American Federation
3
of Arts,
1937-1953,
January
1952,
pp
17-19
2.
Edward Weston, Seeing Photographically in
Alan Trachtenberg (ed.),
Classic Essays on Photograpliy,
5
New
1
laven,
Conn.: Leete s Island Books,
1980,
pp
172-5
3.
Aaron
Scharf,
Modernism; Photograpliy; Art in The History of Photography, London: Taylor and
7
Francis Ltd., Volume
13,
Number
1,1989,
pp
97-102
4.
Jeff Wall, Mark of Indifference: Aspects of Photography in, or as, Conceptual Art , Ann Goldstein and
9
Anne Rorimer, Reconsidering the Object of Art,
J965-Í975,
exhibition catalogue (Los Angeles: Museum of
Contemporary Art,
1995),
p.
247-267
5.
Sarah Kent, Taking Issue: Artists as Photographers in Gerry Badger
(ed.),
Virough the looking Class:
13
Photographic Art in Britain
W5-Ì989,
London: Barbican Art
Gallert , 1989,
pp
89-95
6.
A. D. Coleman, The Image in Question: Further notes on the Directorial Mode in True Stories and
16
Photo Fictions, Cardiff: Hie Ffotogallery,
1987,
pp
2-11
(Reprinted in
A.D.
Coleman, Depth of Field:
Essays on Photograplry, Mass Media and Lens Culture. Albuquerque, New Mexico: University of
New Mexico Press
1998,
pp
53-61)
Chapter
2:
Modernist Visions: Avant-garde Photography
21
1.
Ixíszló Moholy-Nagy,
Photography in Painting, Photography, Film, translated by Janet Seligman,
23
London: Lund Humphries,
1969,
pp
27-9
(Originally published as
Malerei,
Fotografìe, Film,
Volume
8
in the
Bauhausbücher
series
,1925)
2.
Ossip Brik, What the Kye Does Not See , translated by John
E. Bowlt,
in Christopher Phillips
(ed.), 25
Photograph in the Modern Era, New York:
1Ъе
Metropolitan Museum of Art
&
Aperture,
1989,
pp
219-220
(Originally published as
Chego
ne vidít
glaz , in Sovetskoe kino (Soviet cinema), Moscow, no.2,
1926)
3.
Raoul
1 lausmann,
Photomontage , translated by Joel Agee, in Christopher Phillips
(ed.),
Photograpliy
27
in the Modem lira. New York:
Піе
Metropolitan Museum of Art
&
Aperture,
1989,
p.178-180 (Originally
published as
Fotomontage ,
a bis z, Cologne, May
1931,
pp
61-2)
4.
Man Ray, The Age of Light , in
Alan Trachtenberg (ed.),
Classic Essays on Photograpliy, New Haven,
29
Conn.: Leete s Island Books,
1980,
p.
167-8
(Originally published in Man Ray.iM Photographs
№0-1934,
Paris
&
Hartford, Conn.: James Thrall
Soby,
1934)
5.
László Moholy-Nagy,
Space-Time and the Photographer in American Annual of Photograplry,
31
LVII 152,
New York,
1943,
pp
10-12
6.
Abigail Solomon-Godeau,
Піе
Amied Vision Disarmed
-
Radical Formalism from Weapon to Style , in
Photograplty at the Dock:
Essa)»
on Photographic I listory, Institutions and
33
Practices, University of Minnesota Press,
1991,
pp
52-84
Chapter
1:
Photograph}· and Surrealism -H
1.
Rosalind krauss,
Πιο
Photographic Conditions of Surrealism in 1
,1/1
lernn .mdVil
Williams als
ι. -Β
Illuminations,
ümdon
and Now V>rk: I. B. liuiris,
1441,
pp S -41( Iriginalk published in
(
ktohcr. No. Iі».
Winter 19S1)
2.
Dawii
Ades.
Photography and the Surrealist lext , in Rosalind krauss ¿»lane I,
kingston iciki,
46
¡, Amour
ľou:
Photography and Surrealism, Now >ork: Abbeville
Provs,
and llio
(
lonoran
(
.alien
ol
Vrt.
Washington, D.C:.,I98S.
pp
156-179
3.
Amy
J.
Lvford. I ¿-e Miller s Photographic Impersonations,
1930-1445.
t
Îonvcrsim;
with Surrealism
■>(>
in History of Photograph, o . IS,
#3.
Autumn
1994,
pp 235-
4.
.XiidyC^undlxTg.Ontlu^iissoetioiriablei niellnnaturaKlciiiplingiiiSurroalisnianill hotiigr.iphv ,
Я
in Carol Squiers
(ed.)
Owrexposed, Now Virk:
П10
Now Press,
21)00,
pp
130-132
5.
Susan Rubin Suleiman, Dialogue and Double Allegiance: Some Contemporary Women Artists and the
56
1
listorical
Avant-Garde
in Whitney Chadwick
(ed.).
Mirror linages: Women, Surrealism and
Self-Representation, Cambridge, Mass. and I xmdon:
МП
Press.
1948,
pp
131-3
Chapter
4:
The Renaissance of Colour
59
1.
A. D. Coleman, Colour Photography: Ilie Vernacular Iradition
(1480)
and Is Criticism of Colour
61
Photography Possible?
(1982)
in Tarnished Sih er. after the photo boom. New York: Midmarch Arts Press,
1996,
pp
119-121
and
ррПЗ-7
2.
MaxKozloff, Photography: llieComingof/Nge of Colour in
P/iofí)grí!/3/i) (jnc/ŕ Íí.sc7/iíifíoii, Danbur ,
66
New
1
lampshire: Addison House,
1979,
pp
190-195
3.
Janet Malcolm, Color , in Diana and Nikon, Boston: David
R
Godino,
1980,
pp
88-93 68
Chapter
5:
Critical Readings: Reflections on Photography
71
1.
Walter Benjamin, A Short History of Photography , in Screen, Ixmdon: Society for Kducation in Mini and
73
television, Spring
1972,
pp
7-21
(Originally published in 77k?
Literarische Welt, 18.9,25.9,
and
2.10,1931)
2.
Roland Barthes, Camera
incida,
I ¿melon: Vintage,
1993,
pp
26-89
(Originally published as
ί α
Chambre
76
Claire, Editions
du Seuil,
1980)
3.
Roland Barthes, Hie Photographic Message , in Image-Music-Tat, trans. Stephen
1
loath,
1
«iidon:
79
Kontana
Press,
1977,
pp
18-28
4.
Hubert
Damisch,
Rve
Notes for a Phenomenology of the Photographic Image , in Alan trachtenberg
(ed.), 81
Classic Essays on Photography, New
I laven,
Clonu.:
1
¿-êtes
Island Books,
1980,
pp
287-290 ((
)riginally
published in lArc, Paris,
1963)
5.
John
Berger,
Ч
Jnderstanding a Photograph , in Geoff Dyer
(ed.)
John
Berger
Selected Essays,
1
/>ndon:
84
Bloomsbury,
2001,
pp
216-8 ((
Originally published in John
Berger,
The hmk oflhings,
1972)
6.
Allan Sekula, On the Invention of
Photographie
Meaning , in Victor
Burgin (ed.) ¡hinhing Pliotography, 86
I flndon: Macmillan,
1982,
pp
93-7
7.
Victor
Bürgin,
Seeing Sense in
lhe
End of Art theory, Basingstoke and I ondon: Macmilkm Press
1
,td.,
89
1986,
pp
62-70
8.
Vilém
blusser,
Photography in Towards a Philosophy ofPhotograpliy,
Göttingen:
European
Pliotography, 93
1983,
pp
32-3
Chapter
6:
Photography and Postmodernism
95
1. Douglas Crimp/llie Photographic Activity of Postmodernism in October IS, Winter
1980,
pp
97-9 98
2.
Abigail Solomon-Codeau, Winning the Came When the Rules have been Changed: Art Photography
ИИ)
and Postmodernism in Photograpliy at the Dock: Essays on Photographic I listory. Institutions and Practices,
I Jniversity of Minnesota Press,
1991
3.
Steve Edwards,
Πιο
Snapshooters of I listory: Passages on the Postmodern Argument in Ten.
Η
No
32,
ЮЗ
1989,
pp
5-6
4.
C^aigCOwetis/nieDiscoiirseiifCíthers.l emmistsandPosmioclernism .inBeyoiit/ferogiíi/ioii:
106
Representation, Power and Culture, Berkeley,
1
/>s Angeles and I «ncloii: I Iniversity of California Press
1992
pp
173-184
S.
Karen Knorr.
Tctishism of
Black-and-White
and the
Vulgarit)
of Colour , an interview with Antonio 111)
С
дшшії,
a version of whicli appeared in Karen
Knorr.
Mies
de l Esprit.
Photographies, in Mark of
Distinction, Ixmdon: Thames and
1
Itidson,
1991,
pp
124-9
Chapter
7:
Negotiating Identities:
1Ъе
Portrait as Representation
114
1.
I lenrv M.
Saue,
Hie Rhetoric of the Pose: Photograph)· and the Portrait as Perfonnance , in ¡he Object of
117
I erfomumce: ¡he American Avunt-C
•arde
since
¡970,
Chicago and L/>ndon: ITie
Universit)
of Chicago
Press,
1989,
pp49-S3
2.
Graham Clarke, Public
Yaces,
Private Lives: August Sander and the Social
lýpology
of
tlie
Portrait
121
Photograph in Graham Clarke
(ed.),
She Portrait in Photograph,
1
xmdon:
Reaktion
Boob,
1992,
pp
74-82
3.
I )ianc Arbus, in I
liane
Arbus:
. Vi
Aperture , ¡allograph. New York: Aperture,
1972,
pp
1-ї 124
4.
Robert
Л.
Sobieszek, Other Selves in Photographic Self-Portraiture in Robert Sobieszek and Deborah
Irmas 126
(eds.)
lhe
(
.amera I:
Photographic Self Portraits from the Audrey and Sydney
Irmas Colletíon,
Los Angeles
and New York:
1
лѕ
Angeles County Museum of Art (LACMA) and Harry
N.
Abrams,
1994,
pp
23-30
5.
Mary Price, Mask as Descriptive Content , in
lhe
Photograph:
A Strange.
Confined Space. Stanford,
129
California: Stanford University Press,
1994,
pp
118-122
Chapter
8:
Observations of the Other : Contemporary Cultural
132
Interventions
1.
Catherine
І дії/
and Jane Collins, Hie Photograph as an Intersection of Gazes: Ilie Example af National
135
Geographic , in
1
.ucicn liiylor
(cd.)
Visualizing ¡hear); New York and
1
xmdon: Routledge,
1994,
pp
369-372
2. 1
лісу
1
jppard, Double-take: Hie Diary of a Relationship with an Image in
Lucy Lippard (ed.),
Partial Recall,
139
NcwYork/ľhe
New Press,
1992,
pp
34-45
3.
Christopher Pinney, Hie Parallel
I listones
of Anthropology and Photograph)1 in Elizabeth
Edwards (ed.), 142
Anthropology and Photography, lxindon and New l·
laven:
Yale I Jniversity Press,
1992,
pp
90-91
4.
Dave Ljewis, in discussion with
Ыа
Young, in ¡he Impossible Science of Being: Dialogues Between
144
Anthropology and Photograph ,
1
/melon: The Photographers Gallery,
1995,
p.30
5.
/Mian Sekula, Hie Body and the Archive , October, no.
39,
Winter
1986,
pp
363-8,
Cambridge, Mass.:
146
MIT Press, pp
37-48
6.
lauri
Eirstenberg, Representing the Body Archivally in South African Photography , in
Art]ounial,
150
New York: College Art Association, Inc., Spring
2002,
pp
60-62
7.
С
)к тіі
Envve/or and
(
X tavio Zaya, Colonial Imagery, Tropes of Disruption:
1
listor)1,
Culture and
153
Representation in the Works of African Photographers , in Clare Bell
(ed.)
In/sight: African Photographers
1940
to the present, New York: Solomon R. Guggenheim Museum,
1996,
pp 35-S
8.
Kobena Mercer, I Ionic from
1
lome:
Portraits of places in between in Self-Evident, Birmingham: Ikon
157
(¡aller)·
and Autograph,
1995
(introductory essay with no page numbers)
9.
Paul B. Eranklin, Orienting the Asian Male Body in the Photography of Yasumasa Morimura in Deborah
160
Bright
(ed.),
lhe
Passionate Camera: Photograph and Bodies of Desire, I xjndon and New York: Routledge,
1998,
pp
235-8
Chapter
9:
Feminist Revisions:
Tlie
Body and the Gaze
163
1.
Kaja Silverman,
The Gaze in Ihresholdofthe Visible World, London and New York: Routledge,
1996, 165
pp
135-7
2.
Gerard
Malanga,
Anatomy of the
(¡aze
in
G.
Malanga
(ed.),
Scopophilia:
Vie
I
лге
of I
coking,
New ork: 16S
Alfred Van
Der Marek
Editions,
1985,
pp
122-3
3.
Patrick Rocgicrs, Bellocq,
Galerie
J.
et J. Donguy,
Paris Audiovisuel,
1988,
no pagination
170
4.
Christian
Metz,
Photography and Fetish in October
34 (1985),
Cambridge:
MIT Pre«, 19S5,
pp
85-« 172
5.
Cynthia Chris, Witkins Others in Exposure, Vol.
26, «1,1988,
pp
21-3,
Chicago:
Societ)·
for Photographic
175
Education
6.
John
Berger,
Ways of Seeing, London: Penguin, and the BBC,
1972,
pp
45-7 178
7.
Ingrid
Sischy, afterword to Lee Eriedlander, Nuefes, London: Jonathan Cape,
1998.
First published in
1991,
ISO
no pagination
8.
Jo Spence
and Terry Dennett, Remodelling
Photo
History in Jo Spence, Putting Myself in the Picture,
182
Seattle: Hie Real Comet Press,
1988,
pp
119-121
9.
Laura Mulvey, Dialogue with Spectatorship: Barbara Kruger and Victor
Burgin , in
Creative Camera,
1983, 185
london: CC Publishing, p.1377-1382
10.
Melody D. Davis, introduction to The Male Nude in Contemporary Photograph, Philadelphia:
lèmple
189
University Press,
1991,
p.
18
Chapter
10:
Photography, Time and Narrative
192
1.
Peter
Wollen,
Kire
and Ice , in John X
Berger
and Olivier Riehon
(eds.)
Other than Itself: Writing
194
Photograplry, Manchester: Comerhouse publications in association with Derbyshire College of Higher
Education and Camerawork,
1989,
no pagination
2.
Max Kozloff, Through the Narrative Portal in
Artforum,
Vol.
24,
No.
8,
April
1986,
p.88
197
1
Alan Irachtenberg, Wright Morris s photo-texts ,
Пк
Yale Journal of Criticism,
9.1,1996,
pp
111-5, 199
Yale University and the Johns Hopkins University Press, reprinted with permission of the Johns
1
lopkins
University Press
4.
Clive
Scott,
lhe
Narrative Resources of the Photograph in The Spoken Image, London:
Reaktion, 1999, 203
pp
222-7
5.
Thierry
de
Duve, Time Exposure and Snapshot:
lhe
Photograph as Paradox in October
5,
Photography.
206
Λ
Special issue, Cambridge, Mass.: MIT Press, Summer
1978,
pp
119-123
Chapter
11:
On Memory
210
1.
Siegfried Kracauer, Photography , in
Tlie
Mass Ornament: Weimar Essays, translated and edited by
212
Tilomas
1
£vin,
Іхжіоп,
Cambridge (Mass.): Harvard University Press,
1995,
pp
50-51,
originally published in
Gemían
(copyright Siegfried Kracauer,
Schriften,
vol.
5,
Suhrkamp
Verlag, Frankfurt
am Main,
1990)
2.
John
Berger,
Ways of Remembering , Camerawork, no.
10,
July
1978,
London: Half Moon Photography
214
Workshop, pp
1-2
3.
Annette
Kuhn,
Remembrance , in Jo Spence and Patricia Holland
(eds)
Family Snaps: the Meanings of
218
Domestic Photography, London: Virago Press,
1991,
pp
20-21
4.
Jeremy Seabrook, My Life is in that Box , Ten-8, No.
34,
Autumn
1989,
pp
39-40,
Birmingham: Ten-8
220
5.
Val Williams,
The Unredeemed Past: Enigmas of Collective Memory,
1980-1992
in Warworks: Women,
222
Photograplry and the ¡conograpliy of War, l-ondon: Virago Press,
1994,
pp
61-4
Chapter
12:
Photography as a Commercial Practice
225
1.
Walter Benjamin, The Work of Art in the Age of Mechanical Reproduction , in Hannah
Arendt (ed.), 227
Illuminations, translated by Harry Zohn, London:
Fontana
Press,
1973,
pp
217-220
(Originally published in
Zeitschrift fürSozialforschungXi 1936)
2.
Roland Bardies, The Rhetoric of the Image , in Image-Music-Text, trans. Stephen I leath, London:
230
Fontana
Press,
1977,
pp
33-6
3.
Anandi Ramamurthy, The Construction of Illusion , in Liz Wells
(ed.),
Photography: a Critical Introduction,
232
1
/Midon: Routledge,
1997,
pp
189-193
4.
Griselda
Pollock, Missing Women: Rethinking Early Thoughts on Images of Women in Carol Squiers
235
(ed.)
Overexposed, New York:
lhe
New Press, 2000, pp
243-5
5.
Peter D. Osborne, Travel Products: promoting the tourist vision in Travelling Light, Manchester and
238
New York: Manchester I University Press,
2000,
pp
84-7
6.
Val
Williams, Fashion was the L^ast Important Tiling in
Імок
at Me: Fashion and Photograpliy in Britain
241
i960
to the present,
1
япсіоп:
Arts Council,
1998,
pp
100-108
Chapter
13:
Photography and the Idea of the Everyday
244
1
. 1
)ouglas
R
Nickel, I he Snaphot
-
some notes , in Snapshots:
lhe
Photograplry of Everyday I ,ife
- 247
1888
to the Present, San Francisco: San Francisco Museum of Modern Art,
1998,
pp
13-14
2.
I jsettc Model (pp
6-7);
Paul Strand (taped by J. Green during Strand s trip to New York in
1973,
pp
47-9) 249
in a special edition on the snapshot, Jonathan Green
(ed.),
Aperture, Vol.
19,
No.
1,1974
3. Dorothea 1
«inge
and Daniel Dixon, Photographing the Familiar , Aperture, vol. I, no.
2,1952,
pp
9-15, 252
New York: Aperture
4.
William Kggleston, extract from a conversation with Mark Holbom, at breakfast, Greenwood Mississippi,
254
Februar)11988,
in
Пк
Democratic Forest,
l/jndon:
Martin Seeker and Warburg,
1989,
pp
171-3
5.
Ian Jeffrey, Articulating the Commonplace (an excerpt from an
interview
conducted by Mark Haworth-
256
Booth), History of Photography, vol.
21,
no.
4,
Winter
1997,
pp
330-331,
London: Taylor and Francis Ltd.
6.
Marianne I lirsch, Unconscious Optics in Family Frames: Photograplry, Narrative andPostmemory,
259
Cambridge, Mass., and London: Harvard University Press,
1997,
pp
135-8
7.
Judith Williamson, Family, Education, Photography , in Consuming Passions: Vie Dynamics of Popular
261
Culture, Marion
Boyars
Publishers,
1986,
pp
119-126
Chapter
14:
Landscape
264
1.
Ian Jeffrey, an introductory essay to Ian Jeffrey and David Plowden
(eds.)
Landscape, London: Thames
266
and Hudson,
1984,
pp
18-20
2.
Deborah Bright, Of Mother Nature and Marlboro Men: An Inquiry into the Cultural Meanings of
269
1
andscape
in Richard
Bolton (ed.)
The Contest of Meaning: Critical Histories ofPhotograpliy, London;
Cambridge, Mass.: MIT Press,
1989,
pp
137-9
3.
І лісу
Lippard,
Nine Cultural Landscapes in Diane Neumaier
(ed.),
Re framings: New American
272
Feminist Photographies, Philadelphia:
lëmple
Universit)
Press,
1995,
pp
34-45
4.
Judith Fryer
Dávidov,
Піе
Body s Geography: Female Versions of Landscape , in Women s Camera
276
Work: Self/Body/Other in American Visual Culture, Durham and London: Duke
Universit)
Press,
1998,
pp
300-302
Chapter
15:
Photography and the City
279
1.
Graham Clarke, The City in Photography , in Vie Photograph, Oxford and New York: Oxford University
282
Press,
1997,
pp
77-82
2.
Julian Stallabrass, Paris Pictured: Street Photography
1900-1968 ,
(introduction to) Paris Pictured, London:
284
Royal Academy of Arts,
2002,
no pagination
3. Ulrich
Іяоск,
Photos of the Metropolis in Thomas Struth: Unconscious Places,
Münster: 287
Landschaftsverband Westfalen-Lippe, 1987,
pp
76-9
4.
Ci
js
van liiyl,
Life and Death Photography: Nobuyoshi
Araki
in Tokyo
Novelle,
translated from the
289
Dutch by Ruth
Koenig, Kunstmuseum
Wolfsburg,
Ostfildem-Ruit:
Cante
Verlag, 1997,
ppxii-xiii
5.
Miles Orvell,
Weegee s
Voyeurism and the Master)· of Urban Disorder in American Art, Vol.
6,
No.
1, 292
Winter
1992,
pp
27-33
6.
Marsha Meskimmon, Engendering tiie City: Women Artists and Urban Space, London: Scarlet,
1997,
pp
20-23 295
Chapter
16:
The Photograph as a Cultural Document
298
1.
Dorothea
Lange,
Піе
Assignment I ll Never Forget , in Beaumont Newhall
(ed.),
Photography: Essays 3UI
and Images, Seeker and Warburg,
1980,
pp
263-4
(Originally published in Popular Photograph)·
46
(February
1960),
pp
42,126)
2.
Martha Rosier, In, around, and afterthoughts (on
documentar)
photography) in Richard
Bolton (ed.)
303
lhe
Contest of Meaning, London; Cambridge, Mass.: MIT Press,
1989,
pp
317-321
(Originally published
in
3
Works, Halifax, N.S.: Press of the Nova Scotia College of Art and Design,
1981)
3.
Abigail Solomon-Godeau, Who Is Speaking
Пив?
Some Questions about
Documentar)·
Photography
306
in Photography at the Dock, Minneapolis: University of Minnesota Press,
1991,
pp
180-182
(Originally published
in77ie Event Horizon
(ed.
Іяпіе
Kalk
and Barbara Fischer), Toronto: Coach
1
louse Press,
1987)
4.
Andy Gmndberg,
Tlie
Foreign and the Fabulous
(1981),
pp
181-3
and The New Photojournalism and
308
the Old
(1987)
in Crisis of the Real, New York: Aperture,
1999,
pp
186-190
5.
John
làgg,
The Currency of
tlie
Photograph: New Deal Reformism and Documentary Rhetoric in
314
Vie Burden of Representation: Essays on Photographies and Histories, Minneapolis: I Iniversity of
Minnesota Press,
1993,
pp
173-5
6.
Estelle
Jussim, Propaganda and Persuasion in David Featherstone
(ed.),
Observations: Essays on
316
Documentary Photography, Malibu, California:
Tlie
J. Paul Getty Museum,
1991,
pp
110-113
Chapter
17:
Shooting War
320
1.
Jane [.Kingston, llioughb on War Photography in Francis hhilin led),
lhe
Indelible ¡mage:
322
Photographs ofWar-
Мб
to the present. New York: I larry
N.
Abrams Inc.·.,
1985.
pp
14-1
Ї
2.
John
Berger,
Photographs ofAgony in
Abou/
Looking,
Ne«
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pp
41-44 324
(Originally published by Writers and Readers in
198(1)
3.
Robert Adams, Photographing Evil in Beauty in Photograph; Newark: Aperture,
1996,
pp
64-74 327
4.
Edmundo
Desnoes, The Death System in Marshall Blonsky
(ed.)
On Signs, Oxford: Basil Blackwcll,
329
1985,
pp 4Ü-42,
followed by Susan
Meiselas ,
A Portfolio on Central America , pp
43-53
5.
Robert Hamilton, Image and Context: The Production and Reproduction of lite
¡ éxecution
of a C
332
Suspect by Eddie Adams , in J. Walsh and J.
Aulich
(eds),
Vietnam Images: war and representation,
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pplTS-lSJ
Chapter
18:
Photography Beyond the Darkroom
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1.
.Andy Crundberg, Ask It No Questions: The Camera Can
I je ,
Ће
New York limes, Arts and I insure
337
Section
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August 12th,
1990,
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29
2.
Joan Fontcuberta, Pedro Meyer: Truths, Fictions, and Reasonable Doubts in Pedro Meyer, Truths and
340
Fictions:
Λ
journey from Documentary to Digital Photography,NcwYork Aperture,
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9-11.
translated
from Spanish by
Dalia Rabinovich
3.
Martin I Jster, extract from
introductor)
essay to Martin I jstcr
(ed.),
lhe
Photographie
linage in I digital
342
Culture, London and New York: Routledge,
1995,
pp
15-17
4.
Diana Emery Hulick, The Transcendental Machine? A Comparison of Digital Photograph) and
345
Nineteenth Century Modes of Photographic Representation in
í íonardo.
Vol.
23, #4,1990,
pp
422-3,
Oxford: Pergamon Press
5.
Timothy Druckrey, From
Dada
to Digital: Montage in the Twentieth Century in Michael
1
loffman
(ed.)
347
Metamorphoses: Photography in the Electronic Age, New York: Aperture,
1994,
pp
6-7
6.
Ceoffrey Batchen, Phantasm: Digital Imaging and the Death of Photography in Michael
1
loffman
(ed.)
350
Metamorphoses: Photography in the Electronic Age, New York: Aperture,
1994,
pp
48-50
7.
Joanna Sassoon, Photographic Materiality in the Age of Digital Reproduction in Elizabeth Kdwards and
352
Janice
1
lart (eels.) Photographs Objects Histories: On the Materiality of Images, Ixindon and New York:
Routledge,
2004,
pp
193-5
Index
г%
Picture
crédite
Щ
|
| any_adam_object | 1 |
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| dewey-tens | 770 - Photography, computer art, cinematography |
| discipline | Kunstgeschichte Allgemeines |
| edition | 1. publ. |
| era | Geschichte 1921-2000 gnd |
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| title | Reading photography a sourcebook of critical texts 1921 - 2000 |
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