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L'Amour fou : Photography and Surrealism

Rosalind Krauss, Jane Livingston, Dawn Ades

L'Amour fou : Photography and Surrealism Rosalind Krauss, Jane Livingston, Dawn Ades Amazon Price: $43.12
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Editorial Review:

Much has been written about Surrealist painting and sculpture, but most of the erotic, disorienting and exquisite Surrealist photographs of Man Ray, Marcel Duchamp, Max Ernst, Andre Breton, Brassai, Salvador Dali, Andre Kertesz and Hans Bellmer have remained all but unknown - until now. Traditional criticism has viewed Surrealist photography as a pale imitiation of authentic Surrealist work. The assumption has been that photography, a "realistic" medium, is fundamentally incomptatible with a cause devoted to the wildly subjective, the world of dreams and the unconscious. As a consequence, Surrealist photography, a major body of 20-century art, has remained largely unexplored. This text studies the crucial role photography played in the Surrealist movement. It shows how photographers enlisted into the service of "subjective" Surrealism their medium's very claim to "objective" reality. Of greatest interest, of course, is the book's abundant reproductions of the fantastic and distorted photographic creations that must be ackowledged as an important part of the Surrealist oeuvre.

Searching for Sebald

Richard Crownshaw, Adrian Daub, Lisa Diedrich, Florence Feiereisen, Mattias Frey, Christopher Gregory-Guider, Avi Kempinski, Christina Kraenzle, Christa-Maria Lerm Hayes, Anneleen Masschelein, Bettina Mosbach, Daniel Pope, Kirsten Seale, John Sears, Carsten Strathausen, Antoinette LaFarge, Joseph Beuys, Dorothy Cross, Felix Gonzalez-Torres

Searching for Sebald Richard Crownshaw, Adrian Daub, Lisa Diedrich, Florence Feiereisen, Mattias Frey, Christopher Gregory-Guider, Avi Kempinski, Christina Kraenzle, Christa-Maria Lerm Hayes, Anneleen Masschelein, Bettina Mosbach, Daniel Pope, Kirsten Seale, John Sears, Carsten Strathausen, Antoinette LaFarge, Joseph Beuys, Dorothy Cross, Felix Gonzalez-Torres Amazon Price: $26.37
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By: Institute of Cultural Inquiry
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Editorial Review:

W.G. Sebald's books are sui generis hybrids of fiction, travelogue, autobiography and historical expos , in which a narrator (both Sebald and not Sebald) comments on the quick blossoming of natural wonders and the long deaths that come of human atrocities. All his narratives are punctuated with images--murky photographs, architectural plans, engravings, paintings, newspaper clippings--inserted into the prose without captions and often without obvious connection to the words that surround them. This important volume includes a rare 1993 interview called "'But the written word is not a true document': A Conversation with W.G. Sebald about Photography and Literature," in which Sebald talks exclusively about his use of photographs. It contains some of Sebald's most illuminating and poetic remarks about the topic yet. In it, he discusses Barthes, the photograph's "appeal," the childhood image of Kafka, family photographs, and even images he never used in his writings. In addition, Searching for Sebald positions Sebald within an art-historical tradition that begins with the Surrealists, continues through Joseph Beuys and blossoms in the recent work of Christian Boltanski and Gerhard Richter, and tracks his continuing inspiration to artists such as Tacita Dean and Helen Mirra. An international roster of artists and scholars unpacks the intricacies of his unique method. Seventeen theoretical essays approach Sebald through the multiple filters of art history (Krauss), film studies (Kluge), cultural theory (Benjamin), psychoanalysis (Freud), and especially photographic history and theory (Barthes, Kracauer), and 17 modern and contemporary art projects are read through a Sebaldian filter. If Sebald's artistic output acts as a touchstone for new critical theory being written on "post-medium" photographic practices, Seaching for Sebald suggests a model for new investigations in the burgeoning field of visual studies.

Milk and Melancholy

Kenneth Hayes

Milk and Melancholy Kenneth Hayes Amazon Price: $18.96
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By: The MIT Press
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Editorial Review:

Milk and Melancholy looks at milk through the lens of photography and from the angle of art. Specifically, it considers the milk splash in all its manifestations, representations, and variations, tracing the complex flow of the image in works ranging from Harold Edgerton's milk drop coronet to Jeff Wall's exploding milk carton. In Milk and Melancholy, Kenneth Hayes considers milk as corporate advertising's mustache of health; as the antiwine; as a complex mixture of fat, protein, corpuscles, lactose, chyle, and plasma that lacks darkness but lacks also the morally pure transparency of crystal; and as the luminous middle term between mercury’s glare and water's transparency. He offers the first-ever history of the "knowledge of splashes," a history that brings together Goethe’s theory of optics, the invention of the stroboscope, and the milk paint dripped by Jackson Pollock in the 1940s. Taking Edgerton's famous photograph as a starting point, Hayes tracks its influence in the infinite variety of representations of milk in the work of more than twenty artists including Pollock, Ed Ruscha, Barbara Kruger, Bruce Nauman, Adrian Piper, Martha Rosler, Mike Kelley, and William Wegman. More than 100 images, most of them in color and all of them exquisitely reproduced, illustrate Hayes's text. With this book, a splash in its own right, we will never see milk as a mere grocery item again.

Milk and Melancholy is the first book from Prefix Institute of Contemporary Art, publisher of the award-winning magazine Prefix Photo.

Artists: David Askevold, John Baldessari, Iain Baxter, Braco Dimitrijevic, Harold Edgerton, General Idea, Gilbert and George, Jack Goldstein, Mike Kelley, Barbara Kruger, David Lamelas, Bruce Nauman, Adrian Piper, Sigmar Polke, Jackson Pollock, Richard Prince, Martha Rosler, Ed Ruscha, Andres Serrano, Jeff Wall, William Wegman, A. M. Worthington.

Copublished with Prefix Institute of Contemporary Art, Inc.

Words of Light

Eduardo Cadava

Words of Light Eduardo Cadava Amazon Price: $22.45
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Customer Reviews:
Total reviews: 3 Average rating: 3.5 of 5

Editorial Review:

Here Eduardo Cadava demonstrates that Walter Benjamin articulates his conception of history through the language of photography. Focusing on Benjamin's discussions of the flashes and images of history, he argues that the questions raised by this link between photography and history touch on issues that belong to the entire trajectory of his writings: the historical and political consequences of technology, the relation between reproduction and mimesis, images and history, remembering and forgetting, allegory and mourning, and visual and linguistic representation. The book establishes the photographic constellation of motifs and themes around which Benjamin organizes his texts and thereby becomes a lens through which we can begin to view his analysis of the convergence between the new technological media and a revolutionary concept of historical action and understanding.

Written in the form of theses--what Cadava calls "snapshots in prose"--the book memorializes Benjamin's own thetic method of writing. It enacts a mode of conceiving history that is neither linear nor successive, but rather discontinuous--constructed from what Benjamin calls "dialectical images." In this way, it not only suggests the essential rapport between the fragmentary form of Benjamin's writing and his effort to write a history of modernity but it also skillfully clarifies the relation between Benjamin and his contemporaries, the relation between fascism and aesthetic ideology. It gives us the most complete picture to date of Benjamin's reflections on history.

Illuminations: Women Writing on Photography From the 1850s to the Present

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Editorial Review:

The first anthology of its kind, Illuminations presents a comprehensive selection of women’s writings on photography. It proposes a new and different history by demonstrating the ways in which women’s perspectives have advanced photographic criticism over the last 150 years.
Extraordinarily wide-ranging in its scope, this collection chronicles the role of women in photography as critics, historians, and practitioners. Readers will find Julia Margaret Cameron’s bold description of her photographic method, Rosalind Krauss’s exploration of what the camera means for Surrealism, Margaret Bourke-White and Carol Squiers with differing perspectives on Life magazine, as well as essays by Eudora Welty, Susan Sontag, Lucy Lippard, Berenice Abbott, Dorthea Lange, and many others. Illuminations begins with a short piece on the daguerreotype by Elizabeth Barrett Browning then moves through the avant-garde influence of Dada, Bauhaus, and surrealism, to fashion and portrait photography, continuing with documentary and reportage, the emergence of feminist analysis, and postmodern and postcolonial criticism. Encompassing many varied points of view, this volume offers pieces on individual photographers such as Diane Arbus, Ansel Adams, Barbara Kruger, Edward Weston, and Cindy Sherman along with theoretical work by contemporary writers including Jane Gallop, Coco Fusco, and Laura Mulvey.
An historic anthology, Illuminations shows that women have been writing about photography from its beginnings and have intervened in the key debates of the past century and a half. It will welcomed by those interested in photography, gender studies, and women and the arts.

Contributors. Berenice Abbott, Dawn Ades, Susan H. Aiken, Jan Avgikos, Elizabeth Barrett Browning, Margaret Bourke-White, Deborah Bright, Susan Butler, Julia Margaret Cameron, Cynthia Chris, Louise Dahl-Wolfe, Gen Doy, Olive Edis, Ute Eskildsen, Andrea Fisher, Gisèle Freund, Coco Fusco, Jane Gallop, Nan Goldin, Jewelle Gomez, Jan Zita Grover, Judith Mara Gutman, Maria Morris Hambourg, Liz Heron, Alice Hughes, Karen Knorr, Rosalind Krauss, Annette Kuhn, Dorothea Lange, Therese Lichtenstein, Lucy Lippard, Catherine Lord, Mary Warner Marien, Elizabeth McCausland, Roberta McGrath, Lee Miller, Tina Modotti, Lucia Moholy, Laura Mulvey, Carole Naggar, Nancy Newhall, Amy Rule, Lauren Sedofsky, Ingrid Sischy, Abigail Solomon-Godeau, Susan Sontag, Jo Spence, Carol Squiers, Varvara Stepanova, Anne Tucker, Eudora Welty, Dorothy Wilding, Val Wiliams, Anne-Marie Willis, Madame Yevonde

Looking at Photographs: A Guide to Technical Terms (Looking At...)

Gordon Baldwin

Looking at Photographs: A Guide to Technical Terms (Looking At...) Gordon Baldwin Amazon Price: $11.21
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Customer Reviews:
Total reviews: 3 Average rating: 4.5 of 5

A good but dated reference 4 out of 5 stars.
8 of 8 people found this review helpful.

Baldwin's slim lexicon is an excellent addition to the library of anyone interested in the history of photography. The 122 headwords are well defined and are amply illustrated with color and monochrome images. The vocabulary covers photographic processes from the early 19th century through the early/middle of the 20th. The lack of terms from the 1940s to the present is the one significant flaw in this book.

Unlike some dictionaries, one can easily sit down and read this from cover to cover, flipping around for definitions as necessary (terms elsewhere defined are printed in small-caps). Synonymous entries are cross-referenced to the primary entry.

Coverage of digital photography is minimal, but given the time it was written (1991) this is understandable. Also missing are terms like Kodachrome or Ektachrome (though mentioned in the entry for "Chromogenic Print"). Other terms I had hoped to see included 'Colorama', 'Land', 'Polaroid' (though this is alluded to in the entry for 'Dye Diffusion Print'), Giclees/Iris Prints, Lightjet Prints, Image Transfer, Emulsion Transfer, SX-70 manipulation, and no doubt many others I'm not thinking of right now.

The typography, layout, and printing of the book is outstanding. Heavy glossy pages do the reproduced images justice. Examples are well chosen and represent a range of photographer's and genres.

The Reconfigured Eye: Visual Truth in the Post-Photographic Era

William J. Mitchell

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Customer Reviews:
Total reviews: 4 Average rating: 4.0 of 5

The consequences of digital 4 out of 5 stars.
16 of 16 people found this review helpful.

Mitchell's book might be thought of as two books. It is mainly about the meaning of photography at a time when pictures can be so easily manipulated and changed. It's really a philosophical discussion of truth and ethics. However, the middle section of the book is more about the technical aspects of 2D and 3D graphics, with explanations of the fundamental concepts that underlie digital images and compositing techniques, as well as computer modeled and rendered scenes.

And fortunately, both sections are great. THE RECONFIGURED EYE is valuable both as a reconsideration of photographic truth in a the context of new technologies, and as a book to help photographers, graphic designers, architects, and anyone working with photographs to understand how the basic functions of 2D and 3D software work and why. Though I wish there were even more photos of some of the paintings and photographs he refers to, there are many great pictures of paintings, photos, and rendered scenes to illustrate what he describes in the text. This is definitely one of the more thoughtful books on digital images and there's a lot of good stuff here to think about.

Editorial Review:

"An intelligent and readable approach to the digitization of images.... A useful overview of a critical subject."
New York Times Book Review

Enhanced? Or faked? Today the very idea of photographic veracity is being radically challenged by the emerging technology of digital image manipulation and synthesis: photographs can now be altered at will in ways that are virtually undetectable, and photorealistic synthesized images are becoming increasingly difficult to distinguish from actual photographs.

Continuing William Mitchell's investigations of how we understand, reason about, and use images, The Reconfigured Eye provides the first systematic, critical analysis of the digital imaging revolution. It describes the technology of the digital image in detail and looks closely at how it is changing the way we explore ideas, at its aesthetic potential, and at the ethical questions it raises.

Bystander: A History of Street Photography with a new Afterword on SP since the 1970s

Joel Meyerowitz, Colin Westerbeck

Bystander: A History of Street Photography with a new Afterword on SP since the 1970s Joel Meyerowitz, Colin Westerbeck List Price: $35.00
By: Bulfinch
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Customer Reviews:
Total reviews: 6 Average rating: 4.0 of 5

Misguided 2 out of 5 stars.
16 of 28 people found this review helpful.

History of Street Photography! - I grabbed the book. Sat down. leafed through, then stopped, read one chapter in full. And put it down in disgust. "History" implies a systematic approach, a viewpoint as well as recounting of names and facts, it implies ANALYSIS. And the latter the authors are simply not qualified to provide. Of the many paragraphs describing images of Henri Cartier-Bresson here is what sticks in mind: they are "weird", grey, somehow "wrong". By the end of the essay on HBC we find out that "at one time he was the most famous photographer in the world" (citing from memory) - and the major reason why the world decided so is missing - the authors neither understood themselves, nor were qualified to pick up the right explanation from the published criticism: HCB (which he confirmed nimself) applied knowledge of painting to photographic "instant compositions". His images are artist's sketches from life and have to be analyzed as such if they are to be understood at all.
Instead of analysis and examples of correct reading/interpretation of included photos the authors fill space with anecdotes: some American writer accompanying HCB was so much irritated by the latter that he felt like pushing him under the wheels of a truck.
The history of street photography according to the book is such: XIX century, HCB and Europeans, and two larger chapters on Americans, in toto exceeding the first half of the book. Obviously, the centre of all interesting developments is the USA, the rest of the world does not count. In the end we are supplied with another empty and voluble script of a conversation between the authors expostulating Winogrand (on the lines of "do you think that where HCB would stop, HW would push it harder - yeah!")
My conclusion: if you want to understand street photography as an artistic development, turn to other books, such as the excellent "Henri Cartier-Bresson and the Artless Art" by Jean-Pierre Montier (ISBN 0821222856).

Editorial Review:

This work is a chronicle of the photographic genre created from the chaotic energy of everyday street life. It grew out of a 15-year collaboration between an esteemed curator and a distinguished photographer. The work of such celebrated masters as Arget, Stieglitz, Cartier-bresson, Brassai, Walker Evans, Robert Frank and Garry Winogrand is presented here, along with extraordinary photos by complete unknowns. Colin Westerbeck's text illuminates each image and he has also contributed a new illustrated afterword for this paperback edition, which examines contemporary street photography.

Each Wild Idea: Writing, Photography, History

Geoffrey Batchen

Each Wild Idea: Writing, Photography, History Geoffrey Batchen Amazon Price: $18.98
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Editorial Review:

In Each Wild Idea, Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography.

The essays all focus on a consideration of specific photographs—from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at—rather than beyond—the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity.

Camera Indica: The Social Life of Indian Photographs (Envisioning Asia)

Christopher Pinney

Camera Indica: The Social Life of Indian Photographs (Envisioning Asia) Christopher Pinney Amazon Price: $27.00
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Total reviews: 1 Average rating: 4.0 of 5

Editorial Review:

A wedding couple gazes resolutely at viewers from the wings of a butterfly; a portrait surrounded by rose petals commemorates a recently deceased boy.

These quiet but moving images represent the changing role of photographic portraiture in India, a topic anthropologist Christopher Pinney explores in Camera Indica. Studying photographic practice in India, Pinney traces photography's various purposes and goals from colonial through postcolonial times. He identifies three key periods in Indian portraiture: the use of photography under British rule as a quantifiable instrument of measurement, the later role of portraiture in moral instruction, and the current visual popular culture and its effects on modes of picturing. Photographic culture thus becomes a mutable realm in which capturing likeness is only part of the project. Lavishly illustrated, Pinney's account of the change from depiction to invention uncovers fascinating links between these evocative images and the society and history from which they emerge.

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