Photographic returns: racial justice and the time of photography
"In PHOTOGRAPHIC RETURNS Shawn Smith sets out to examine works of contemporary art, only to find that many of the works refer back to the past, to photography's many intersections with the history of racial justice in the U.S. Smith focuses on flashpoints in that history -- spanning from t...
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Durham ; London
Duke University Press
2020
|
| Schlagworte: | |
| Zusammenfassung: | "In PHOTOGRAPHIC RETURNS Shawn Smith sets out to examine works of contemporary art, only to find that many of the works refer back to the past, to photography's many intersections with the history of racial justice in the U.S. Smith focuses on flashpoints in that history -- spanning from the abolitionist movement, to the Civil War, lynching, and mass incarceration-- to mark the roles that photography has played in documenting the exigencies of Black life, and as a tool for resisting those racial regimes. For each of these moments, Smith shows how contemporary photographers utilize their medium as a way to recall, revise, or amplify the relationship between racial politics in the past and in the present. She argues that the tendency of African-American photographers and other artists to return to the archive of early photography does not simply point to the usefulness of early photography as document of the past, but to the recursive nature of photography itself. This study expands our theories of photography and memory by arguing that the recursive temporality of photography is central to its role in recording and remembering history. It also asserts that photography is an invaluable tool for critical practice of racial justice"-- |
| Beschreibung: | ix, 236 Seiten, 16 ungezählte Seiten Tafeln Illustrationen, Portraits (zum Teil farbig) 24 cm |
| ISBN: | 9781478004684 9781478004073 |
Internformat
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| 264 | 4 | |c © 2020 | |
| 300 | |a ix, 236 Seiten, 16 ungezählte Seiten Tafeln |b Illustrationen, Portraits (zum Teil farbig) |c 24 cm | ||
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| 337 | |b n |2 rdamedia | ||
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| 505 | 8 | |a Photographic returns -- Looking forward and looking back: Rashid Johnson and Frederick Douglass on photography -- Photographic remains: Sally Mann at Antietam -- The scene of the crime: Deborah Luster -- Photographic referrals: Lorna Simpson's 9 props -- Afterimages: Jason Lazarus -- Photographic reenactments: Carrie Mae Weems's constructing history -- False returns: Taryn Simon's The Innocents -- A glimpse forward: Dawoud Bey's The Birmingham project | |
| 520 | 3 | |a "In PHOTOGRAPHIC RETURNS Shawn Smith sets out to examine works of contemporary art, only to find that many of the works refer back to the past, to photography's many intersections with the history of racial justice in the U.S. Smith focuses on flashpoints in that history -- spanning from the abolitionist movement, to the Civil War, lynching, and mass incarceration-- to mark the roles that photography has played in documenting the exigencies of Black life, and as a tool for resisting those racial regimes. For each of these moments, Smith shows how contemporary photographers utilize their medium as a way to recall, revise, or amplify the relationship between racial politics in the past and in the present. She argues that the tendency of African-American photographers and other artists to return to the archive of early photography does not simply point to the usefulness of early photography as document of the past, but to the recursive nature of photography itself. This study expands our theories of photography and memory by arguing that the recursive temporality of photography is central to its role in recording and remembering history. It also asserts that photography is an invaluable tool for critical practice of racial justice"-- | |
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| 653 | 0 | |a Art and photography / United States | |
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Datensatz im Suchindex
| _version_ | 1804180933447778304 |
|---|---|
| any_adam_object | |
| author | Smith, Shawn Michelle 1965- |
| author_GND | (DE-588)135931843 |
| author_facet | Smith, Shawn Michelle 1965- |
| author_role | aut |
| author_sort | Smith, Shawn Michelle 1965- |
| author_variant | s m s sm sms |
| building | Verbundindex |
| bvnumber | BV046401783 |
| classification_rvk | HD 474 AP 95000 MS 1235 MS 3530 |
| contents | Photographic returns -- Looking forward and looking back: Rashid Johnson and Frederick Douglass on photography -- Photographic remains: Sally Mann at Antietam -- The scene of the crime: Deborah Luster -- Photographic referrals: Lorna Simpson's 9 props -- Afterimages: Jason Lazarus -- Photographic reenactments: Carrie Mae Weems's constructing history -- False returns: Taryn Simon's The Innocents -- A glimpse forward: Dawoud Bey's The Birmingham project |
| ctrlnum | (OCoLC)1142746873 (DE-599)BVBBV046401783 |
| dewey-full | 779.93058 |
| dewey-hundreds | 700 - The arts |
| dewey-ones | 779 - Photographic images |
| dewey-raw | 779.93058 |
| dewey-search | 779.93058 |
| dewey-sort | 3779.93058 |
| dewey-tens | 770 - Photography, computer art, cinematography |
| discipline | Kunstgeschichte Allgemeines Soziologie Anglistik / Amerikanistik |
| format | Book |
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| id | DE-604.BV046401783 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T08:43:37Z |
| institution | BVB |
| isbn | 9781478004684 9781478004073 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-031814526 |
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| physical | ix, 236 Seiten, 16 ungezählte Seiten Tafeln Illustrationen, Portraits (zum Teil farbig) 24 cm |
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| publisher | Duke University Press |
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| spelling | Smith, Shawn Michelle 1965- Verfasser (DE-588)135931843 aut Photographic returns racial justice and the time of photography Shawn Michelle Smith Durham ; London Duke University Press 2020 © 2020 ix, 236 Seiten, 16 ungezählte Seiten Tafeln Illustrationen, Portraits (zum Teil farbig) 24 cm txt rdacontent n rdamedia nc rdacarrier Photographic returns -- Looking forward and looking back: Rashid Johnson and Frederick Douglass on photography -- Photographic remains: Sally Mann at Antietam -- The scene of the crime: Deborah Luster -- Photographic referrals: Lorna Simpson's 9 props -- Afterimages: Jason Lazarus -- Photographic reenactments: Carrie Mae Weems's constructing history -- False returns: Taryn Simon's The Innocents -- A glimpse forward: Dawoud Bey's The Birmingham project "In PHOTOGRAPHIC RETURNS Shawn Smith sets out to examine works of contemporary art, only to find that many of the works refer back to the past, to photography's many intersections with the history of racial justice in the U.S. Smith focuses on flashpoints in that history -- spanning from the abolitionist movement, to the Civil War, lynching, and mass incarceration-- to mark the roles that photography has played in documenting the exigencies of Black life, and as a tool for resisting those racial regimes. For each of these moments, Smith shows how contemporary photographers utilize their medium as a way to recall, revise, or amplify the relationship between racial politics in the past and in the present. She argues that the tendency of African-American photographers and other artists to return to the archive of early photography does not simply point to the usefulness of early photography as document of the past, but to the recursive nature of photography itself. This study expands our theories of photography and memory by arguing that the recursive temporality of photography is central to its role in recording and remembering history. It also asserts that photography is an invaluable tool for critical practice of racial justice"-- Fotografie (DE-588)4045895-7 gnd rswk-swf Rassenfrage (DE-588)4176975-2 gnd rswk-swf USA (DE-588)4078704-7 gnd rswk-swf Photography in ethnology / United States / History Documentary photography / United States / History Art and photography / United States Photography in historiography Photography / Social aspects / United States / History Art and history / United States Art and history Art and photography Documentary photography Photography in ethnology Photography / Social aspects United States History USA (DE-588)4078704-7 g Rassenfrage (DE-588)4176975-2 s Fotografie (DE-588)4045895-7 s DE-188 Erscheint auch als Online-Ausgabe 978-1-4780-0553-7 (DE-604)BV047049516 |
| spellingShingle | Smith, Shawn Michelle 1965- Photographic returns racial justice and the time of photography Photographic returns -- Looking forward and looking back: Rashid Johnson and Frederick Douglass on photography -- Photographic remains: Sally Mann at Antietam -- The scene of the crime: Deborah Luster -- Photographic referrals: Lorna Simpson's 9 props -- Afterimages: Jason Lazarus -- Photographic reenactments: Carrie Mae Weems's constructing history -- False returns: Taryn Simon's The Innocents -- A glimpse forward: Dawoud Bey's The Birmingham project Fotografie (DE-588)4045895-7 gnd Rassenfrage (DE-588)4176975-2 gnd |
| subject_GND | (DE-588)4045895-7 (DE-588)4176975-2 (DE-588)4078704-7 |
| title | Photographic returns racial justice and the time of photography |
| title_auth | Photographic returns racial justice and the time of photography |
| title_exact_search | Photographic returns racial justice and the time of photography |
| title_full | Photographic returns racial justice and the time of photography Shawn Michelle Smith |
| title_fullStr | Photographic returns racial justice and the time of photography Shawn Michelle Smith |
| title_full_unstemmed | Photographic returns racial justice and the time of photography Shawn Michelle Smith |
| title_short | Photographic returns |
| title_sort | photographic returns racial justice and the time of photography |
| title_sub | racial justice and the time of photography |
| topic | Fotografie (DE-588)4045895-7 gnd Rassenfrage (DE-588)4176975-2 gnd |
| topic_facet | Fotografie Rassenfrage USA |
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