Kategoria BISAC: Photography >> Criticism

In this compelling work, Ariella Azoulay reconsiders the political and ethical status of photography. Describing the power relations that sustain and make possible photographic meanings, Azoulay argues that anyone -- even a stateless person -- who addresses others through photographs or is addressed by photographs can become a member of the citizenry of photography. The civil contract of photography enables anyone to pursue political agency and resistance through photography. Photography, Azoulay insists, cannot be understood separately from the many catastrophes of recent history. The...

From James Agee to W. G. Sebald, there has been an explosion of modern documentary narratives and fiction combining text and photography in complex and fascinating ways. However, these contemporary experiments are part of a tradition that stretches back to the early years of photography. Writers have been integrating photographs into their work for as long as photographs have existed, producing rich, multilayered creations; and photographers have always made images that incorporate, respond to, or function as writing. On Writing with Photography explores what happens to...

From James Agee to W. G. Sebald, there has been an explosion of modern documentary narratives and fiction combining text and photography in complex and fascinating ways. However, these contemporary experiments are part of a tradition that stretches back to the early years of photography. Writers have been integrating photographs into their work for as long as photographs have existed, producing rich, multilayered creations; and photographers have always made images that incorporate, respond to, or function as writing. On Writing with Photography explores what happens to...

In Nature Exposed, Jennifer Tucker studies the intersecting trajectories of photography and modern science in late Victorian Britain. She examines the role of photograph as witness in scientific investigation and explores the interplay between photography and scientific authority.

Almost immediately after the invention of photography in 1839, photographs were characterized as offering objective access to reality--unmediated by human agency, political ties, or philosophy. This mechanical objectivity supposedly eliminated judgment and interpretation in reporting and picturing...

This book is the product of a unique collaboration between the Israeli artist and philosopher Aim Deuelle Luski and Ariella Azoulay. In their long-standing working relationship, they research how to theorize the structure of the contemporary scopic regime and to open a space for its civil transformation. On this occasion, Azoulay interprets a unique series of cameras built by Deuelle Luski, along with photographs taken by these cameras. Unlike conventional, vertical photography, Deuelle Luski's cameras seek to generate new sets of relations between the camera and the world.

Azoulay s...

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Dutchman Jan Dibbets (b. 1941) is one of the principal artists to have introduced photography into the plastic arts. Beginning in 1967, he embarked on a long-range project that, as we advance into the twenty-first century, he seems not to have abandoned: the "pictorializing" of photography. At a time when photography has massively invaded contemporary art institutions not without generating confusion and excess it is possible to lose track of how radical Dibbets's approach was. This radicalism has nothing to do with modernist overkill. Dibbets did not merely go further than...