A Companion to Photography

Description

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. Cover Title Page Copyright Page Contents List of Figures Notes on Contributors Acknowledgments Chapter 1 Introduction: Photography in the Twenty‐first Century Photography in the Twenty‐first Century Structure of the Book Conclusion Part I Themes Chapter 2 Histories References Chapter 3 Locating Photography From Calcutta to Constantinople Terra Infirma: Photography Beyond the Nation World System Photography Conclusion: Locating Martín Chambi Acknowledgement References Chapter 4 The Participation of Time in Photography References Chapter 5 Photographic Acts and Arts of Memory Memory Rising Objects of Memory Memories Lost and Found Memorable Moments Sights of Memory Commemoration and Repossession Acting the Art Family Resemblances References Chapter 6 The Indexical Imagination Semiotics Sign-making Perception Note References Chapter 7 The Thingness of Photographs Some Framings Albums and the Material Performance of Narrative Photographs and Their Sensory Entanglements The Material Archive and Photographic Meaning Conclusion References Chapter 8 Beyond Representation?: The Database-driven Image and the Non-human Spectator Introduction Photography and the “Algorithmic Turn” “Seeing” the Photograph? Photography as “Content” Extracting Meaning from “Content” Metadata and Tagging: Re‐writing the Image as Text The Meaning Machine? Pattern Recognition and Non‐verbal Orderings Conclusion Notes References Part II Interpretation Chapter 9 Semiotics Exposing the Construction of Photographs People, Roles, and Modality in Photographs Modality and the Modification of Photographs Peircean Semiotics, Emotion, and the Status of the Photograph References Further Reading Chapter 10 A Culture of Texts “Nature’s” Marks Imitations The Multiple Medium The Photograph as “Text” Dismantling the System A Liminal View References Further Reading Chapter 11 Psychoanalysis and Photography: Mary Kelly and Cindy Sherman Mary Kelly Cindy Sherman References Chapter 12 Reviewing the Gaze The Gaze in Theory and History The Gaze: Optical, Linguistic, Haptic The Gaze and the Look Psychoanalysis, the Gaze, and the Photograph Three Historical Moments In the Realm of the Senses Three Theoretical and Historical Moments Ethics, Politics, and the Gaze The Gaze as Civil Contract References Part III Markets Chapter 13 Marketing Photography: Selling Popular Photography on the British High Street Marketing Mass Photography: The Debates Mass-Marketing Photography: Kodak as the Founding Model The Rise of the High Street Photographic Chemist in Britain Stratifying the Market: Advertising Photography to the Man‐in‐the‐Street From Labcoat to Laptop: Changing Identities for Photographic Providers Prescriptive and Policed Esthetics: The Role of Business in Shaping Photographic Practice Visual Economies: The Hidden Financial Dominance of Commercial Developing and Printing Duping and Knowing, Prescription and Resistance: Marketing’s Effects Acknowledgments References Further Reading Chapter 14 Advertising and Photography: Rhetoric and Representation Advertising: Information and Persuasion Photography: Documentary and Persuasion Barthes on the Newspaper Photograph Barthes on the Advertising Photograph Derrida, Barthes, and Photography Advertising, Photography, Rhetoric, and Representation Conclusion References Further Reading Websites Chapter 15 Fashion’s Image: The Complex World of the Fashion Photograph The Changing World of the Fashion Photograph Fashion as Image What Is a Fashion Photograph? How Fashion Works in the Street Style Blog Is Fashion Photography Art? Conclusion Acknowledgments Notes References Further Reading Chapter 16 Value Systems in Photography Notes References Further Reading Part IV Popular Photography Chapter 17 Snapshot Photography: History, Theory, Practice, and Esthetics History Theory Practice Esthetics Conclusion Note References Further Reading Chapter 18 Mobile Photography The Problem with “Mobile Photography” The Research Area A Mobile History Mobility-As-Transience Networked Photography Conclusion [Mobile Meaning] Notes References Further Reading Chapter 19 Famous for a Fifteenth of a Second: Andy Warhol, Celebrity, and Fan Photography Andy Warhol as Fan Andy Warhol as Artist Andy Warhol as Celebrity Conclusion References Further Reading Chapter 20 Boring Pictures: Photography as Art of the Everyday Art of the Everyday The Photograph Noticing Things Tactical Resistance Everyday Aesthetics The Sensible Conclusion References Further Reading Part V Documents Chapter 21 “Things As They Are”: The Problematic Possibilities of Documentary References Further Reading Chapter 22 Citizens’ Photojournalism Champions and Opponents Precedents and Legacies Art,Photography and the Internet Conclusion References Further Reading Chapter 23 Seeing Is Not Believing: On the Irrelevance of Looking in the Age of Operational Images The Unseen Image The Irrelevance of Looking The Operational Image Where, Then, to Look? Conclusion References Further Reading Chapter 24 Travel Books, Photography, and National Identity in the 1950s and 1960s, : seen through the prism of the LIFE World Library References Further Reading Part VI Art Chapter 25 Photography’s Conflicting Modernisms and Modernities Photography’s Conflicting Modernisms and Expanded Modernities Photographic Modernism and the Avant-Gardes American Modernism Modernism Expanded/Modernism from Below Modernism without Borders and Late Modernism Notes References Chapter 26 Spectacle and Anti‐spectacle: American Art Photography and Consumer Culture Consumer Photography: The Bad Art Photography of Ed Ruscha and John Baldessari The Cultic Power of Images: Richard Prince and Louise Lawler From the Ideal to the Real: Philip‐Lorca diCorcia’s and Larry Sultan’s Post‐Documentary Conclusion Notes References Further Reading Chapter 27 What Can Photography Do?: Considerations on Photography’s Potential as Contemporary Art What Has Photography Done? What Can Photography Do? Conclusion References Further Reading Chapter 28 Practicing Desires: Authorship in Contemporary Photographic Art A Very Brief Survey of the Artist Photographer as Author Roundtable Discussion, London, November 2011 (Chair: Fergus Heron) Joachim Schmid in Conversation with Stephen Bull, London, November 2011 Conclusion References Further Reading Index EULA