Photography Theory

Photography Theory

Publisher: Florence : Taylor and Francis, 2013.Description: 1 online resource (481 p.).ISBN: 9781135867744

Contents:

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?.

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