An unparalleled exploration of the art of cameraless photography, this expansive book offers an authoritative and lavishly illustrated history of photography made without a camera, along with a critical discussion of the practice..
Since the early 19th century and the invention of photography, artists have been experimenting with various methods for creating photographs without a camera. At once exhaustive and compelling, this book reveals the myriad approaches artists have used to create photographic images using just paper and a source of radiation. Simultaneously a chronological history and a thematic study, this book explores a range of practices, some of which have been in use for more than a century, while others are entirely contemporary. From placing objects on light-sensitive paper and drawing on blackened glass plates to radiography, photocopying, and digital scanning, this is an elemental kind of photography that repudiates the idea that technology advances in only one direction. By eliminating the camera, artists are able to focus on other ways of making photographic pictures. They allow the world to leave its own imprint, to speak for itself as itself. This volume includes 160 exquisitely reproduced works of this kind. In turns abstract and realist, haunting and intricate, they seem to capture the very essence of their subjects. Featuring artists from the 19th century to today, this book explores cameraless photography as an important and influential medium that deserves to be included at the forefront of today s conversations about contemporary art.
Publisher: Florence : Taylor and Francis, 2013.Description: 1 online resource (481 p.).ISBN: 9781135867744
Cover — Photography Theory — Title Page — Copyright Page — Table of Contents — Series Preface — Section 1 Introduction — Theories of Photography: A Short History — Section 2 Starting Points — Conceptual Limitations of Our Reflection on Photography: The Question of “Interdisciplinarity” — After Medium Specificity Chez Fried: Jeff Wall as a Painter — Gerhard Richter as a Photographer — Following Pieces: On Performative Photography — Time Exposure and Snapshot: The Photograph as Paradox — Introductory Note — Section 3 The Art Seminar — Jan Baetens — Diarmuid Costello
James Elkins — Jonathan Friday — Margaret Iverson — Sabine Kriebel — Margaret Olin — Graham Smith — Joel Snyder — Section 4 Assessments — Michael Leja — Nancy Shawcross — Anne Collins Goodyear — Peggy Ann Kusnerz — Alan Cohen — Martin Lefebvre — David Green — Sharon Sliwinski — David Bate — Abigail Solomon-Godeau — Michel Frizot — Geoffrey Batchen — Johan Swinnen — Hilde Van Gelder — David Campany — Joanna Lowry — Carol Squiers — Patrick Maynard — Vivan Sundaram — Rosalind Krauss — Liz Wells — Beth E. Wilson — Martin Lister — Shepherd Steiner — Alan Trachtenberg
Victor Burgin — Joel Snyder — Section 5 Afterwords — The Trouble with Photography — Photographs and Fossils — Notes on Contributors — Index
Summary: Photography Theory presents forty of the world’s most active art historians and theorists, including Victor Burgin, Joel Snyder, Rosalind Krauss, Alan Trachtenberg, Geoffrey Batchen, Carol Squiers, Margaret Iversen and Abigail Solomon-Godeau in animated debate on the nature of photography. Photography has been around for nearly two centuries, but we are no closer to understanding what it is. For some people, a photograph is an optically accurate impression of the world, for others, it is mainly a way of remembering people and places. Some view it as a sign of bourgeois life, a kind of addiction of the middle class, whilst others see it as a troublesome interloper that has confused people’s ideas of reality and fine art to the point that they have difficulty even defining what a photograph is. For some, the whole question of finding photography’s nature is itself misguided from the beginning.This provocative second volume in the Routledge The Art Seminar series presents not one but many answers to the question what makes a photograph a photograph?.
The history of motion graphics : from avant-garde to industry in the United States / Michael Betancourt.
Publisher: [Rockville, Md.] : Wildside Press, Description: 314 pages : illustrations (black and white) ; 23 cm.ISBN: 1434441504; 9781434441508.
Prehistory — Synaesthesia — Color music — Color music inventors — Visual music — Kinetic typography — Inventing the abstract film — The futurist abstract films (1909-1912) — Léopold Survage (1879-1968) — The Dada/Constructivist cinema (1919-1929) — Man Ray’s Le retour à la raison (1923) — Murphy & Léger’s Ballet mécanique (1924) — Walther Ruttmann (1887-1941) — Viking Eggeling (1880-1925) — Hans Richter (1888-1976) — Marcel Duchamp’s Anémic cinéma (1926) — Laszlo Moholy-Nagy (1895-1946) — Towards a universal language of media — The sound film — Montage — Oskar Fischinger (1900-1967) — Mary Ellen Bute (1906-1983) — Len Lye (1901-1980) — Norman McLaren (1914-1987) — Modernist television — John (1917-1995) & James (1921-1982) Whitney — Harry Everett Smith (1923-1991) — Avant-garde film in parallax — American modernism — The rise of post-war abstraction — Design on TV — The “television project” — Commercials & the experimental film — Mainstreaming the avant-garde — Museum validation — Intermedia — The Vortex concerts — ‘Structural’ film studies — The invention of video art — Signal/image processing — Inventing computer art — The computer film — Programmed animations — Stan VanDerBeek (1927-1984) — Lillian Schwartz (1927-) — John Whitney’s ‘Digital harmony’ — Media convergence — Digital video — Feature film title design — The early (experimental) period — The studio period — The designer period — The logo period — The contemporary designer period — TV & video game title design — Live TV — Broadcast/network TV — Cable TV — Internet — Video game titles — Video game end titles — The context of title design — The continuing synaesthetic tradition — Stan Brakhage (1933-2003) — Dennis H. Miller — The digital experiment — Commercial synaesthesia.
Note: Includes bibliographical references (pages 297-300) and index.
La ressemblance par contact : Archéologie, anachronisme et modernité de l’empreinte