Encompassing a wide range of subjects, the ten masterful essays gathered here may at first appear unrelated to one another. In truth, Giorgio Agamben's latest book is a mosaic of his most pressing concerns. Take a step backward after reading it from cover to cover, and a world of secret affinities between the chapters slowly comes into focus. Take another step back, and it becomes another indispensable piece of the finely nuanced philosophy that Agamben has been patiently constructing over four decades of sustained research. If nudity is unconcealment, or the absence of all veils, then Nudities is a series of apertures onto truth. A guiding thread of this collection-weaving together the prophet's work of redemption, the glorious bodies of the resurrected, the celebration of the Sabbath, and the specters that stroll the streets of Venice-is inoperativity, or the cessation of work. The term should not be understood as laziness or inertia, but rather as the paradigm of human action in the politics to come. Itself the result of inoperativity, Nudities shuttles between philosophy and poetry, philological erudition and unexpected digression, metaphysical treatise and critique of modern life. And whether the subject at hand is personal identity or the biometric apparatus, the slanderer or the land surveyor, Kafka or Kleist, every page bears the singular imprint of one of the most astute philosophers of our time.

This book provides a timely reappraisal of one of the most enduring subjects in the history of art - the naked body. Beginning with reflections on what denuding entails and means, the volume then shifts to a consideration of body politics in the context of Black political empowerment, disability, and queer and Indigenous politics of representation. Themes including the animal nude, the male nude, and nudity in childhood are also considered. The final section examines the nude from the perspective of the artist and the artist's model. The book will be of interest to scholars working in art history, comparative literature, cultural studies, gender studies, queer studies, screen studies, and trans studies.

Norway has long been an insider tip among road lovers. The Trollstigen is often mentioned in the same breath as legendary passes all over the world. It's important to know that whether you move on two wheels or four, there is so much more to discover here. Curves has set out in search of the absolute highlights and presents exactly that here: breath-taking views, endless winding roads, and gastronomic highlights - all combined to create a travel guide of a very special kind. Norway is presented here as you certainly don't know it - yet! Text in English and German. Also available: Curves: Germany's Coastline | Denmark ISBN 9783667110909

Zone Eleven is a reference to Ansel Adams' Zone System, a method to control exposure of the negative in order to obtain a full range of tonality in the photographic print from the deepest black of Zone 0 to the brightest highlight in Zone 10. Zone Eleven is a metaphor coined by artist Mike Mandel in his challenge to create a book of Adams' photographs outside of the bounds of his personal work. Many of these photographs were found in the archives of his commercial and editorial assignments, and from his experimentation with the new Polaroid material of the times. For this book, Mandel has unearthed images that are unexpected for Adams, and created a new context of facing page relationships, and sequence. Zone Eleven is the product of Mike Mandel's research of over 50,000 Adams images located within four different archives to present a body of Adams' work that was unknown until now. Mike Mandel is well known for his collaboration with Larry Sultan in the 1970s - 1990s. They published Evidence in 1977, a collection of 59 photographs chosen from more than two million images that the artists viewed at the archives of government agencies and tech-oriented corporations. Conceptually, Zone Eleven is a companion book to Evidence. As Evidence reframes the institutional documentary photograph with new context and meaning, Zone Eleven responds to the audience expectation of "the iconic Ansel Adams nature photograph." But Mandel selects images that do not fit that expectation. Zone Eleven is a book of Ansel Adams images that surprisingly speak to issues of the social relations, the built environment, and alienation.

Photography, Truth and Reconciliation charts the connections between photography and a crucial issue in contemporary social history. The book examines the prevalence of photography in cultural responses to processes of truth and reconciliation, and argues that photographs are a valuable means through which stories can be retold and historiography can be rethought. Five compelling case studies from Argentina, Canada, Australia, South Africa and Cambodia underscore the special role that this medium has played in facilitating processes of recovery, and in reconstructing suppressed histories, even when a documentary record of the events does not exist. The diverse practices addressed in this book – including artistic, protest, institutional, archival, legal and personal photography – prompt a new consideration of photography’s links to presence, place, time, spectatorship and justice. Collectively, these practices attest to photography’s key role in transitional justice, and in shaping historical understanding internationally. Important reading for students taking photography, visual culture, history and media studies courses, Photography, Truth and Reconciliation explores key historical and theoretical themes, including photography and testimony, international discourses on human rights and justice, and problematic notions of public and collective memory. The introduction and conclusion of this book a43 freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com

This open access book discusses the functionality of the use of the language of photography in teachers' initial and ongoing training. It analyzes the nature of photography as a representation system, facilitating inquiry and reflection on its practice for teachers and evocating on theories and beliefs that may guide their work in classrooms. Photography is used to represent symbolically and affectively possible contradictions in teaching activities or the inconsistencies between planned teaching tasks and the educational purposes pursued. Resolving these conflicts is one of the ways to promote professional development. This book also describes photo-elicitation and photographic storytelling as work procedures. By analyzing the contributions of these techniques, the development of teachers is improved.

Set in the rolling hills of southern Indiana, Indiana University Bloomington is widely acknowledged to be one of the most picturesque college campuses in the United States Indiana University: New Portraits of the Bloomington Campus offers Hoosiers the chance to discover or revisit the campus for themselves and appreciate stunning new buildings and improvements in landscaping and facilities. During its two-hundred-year history, the Bloomington campus has grown out from its original core while maintaining its focus on its architectural atheistic. Indiana University Bloomington now occupies nearly 2,000 acres, and the beauty and harmony of its limestone buildings set against breathtaking natural scenery make the campus a treasure that all Hoosiers enjoy. Indiana University: New Portraits of the Bloomington Campus offers Hoosiers the chance to travel back home, relive past friendships, scholarly achievements, Little Fives, and Hoosier victories, and wander again, if just for a moment, through Dunn's Woods, the Cox Arboretum, and the iconic Sample Gates.

Since the early 1980s, art photographers from metropolitan France have been training their lenses on ordinary landscapes throughout the country they call home. The Topographic Imaginary is the first book to study this important and flourishing trend. It examines work by artists who meld documentary and creative modes to attune viewers to places that mainstream culture tends to tune out, but which, as Ari J. Blatt argues, are in fact more meaningful than they initially appear. From views of building sites in Paris, peri-urban edgelands, or a tangle of trees in a forest, to those that ponder the play of light and shadow on roadside fields in Normandy or the tacky colors painted on dated village shopfronts, images that signal the emergence of a "topographic turn" in contemporary French photography constitute new ways of seeing and sensing France's diverse national territory. As Blatt suggests, they also represent a visual laboratory through which to investigate how landscape "scapes" our understanding of French culture. In their efforts to reimagine a more traditional and time-worn idea of France's shared common space, topographic photographs animate conversations about capital and class; cities and their peripheries; the politics and impact of development; migration and borders; memory, history, and affect; empire and postcolonialism; national identity; and the changing environment. The Topographic Imaginary thus reveals how attending to place in pictures provides valuable insight into the disposition of a nation in flux.

Set in rural Ireland, against the background of the on-course gambling operating at the many local race meetings held throughout the country, this book combines the photographs of Bruce Gilden with the story-telling of Dermot Healy. It seeks to create a portrait of this aspect of rural Irish life.

After five hundred years of colonial suppression and a brutal civil war, the Maya in Guatemala finally have a chance to live in peace. Latin America's longest civil war ended on December 29, 1996, with a peace accord between the conservative government of President Arzu and the Marxist guerrilla group URNG. Now the Maya are searching the killing fields for their dead, rediscovering their own magnificent culture and history, and are finally free to practice their ancient religion at remote altars on mountaintops, in caves and ravines, or near waterfalls, and to begin to heal their souls. Magnum photographer Thomas Hoepker has visited Guatemala six times since 1991. He has captured many aspects of this remarkable period of transition in an array of astonishing, full-color shots that will disturb, enchant, and ultimately instruct.

Just as the new technology of photography was emerging throughout the United States in the mid-nineteenth century, it quickly caught hold in the scenic Adirondack region of upstate New York. Young men and a few women began to experiment with cameras as a way to earn their livings with local portrait work. From photographing individuals, some expanded their subject matter to include families and groups, homes, streetscapes, landmarks, workplaces, and important events: from town celebrations to presidential visits, train wrecks, floods, and fires. These photographers from within and just beyond the Park borders, as well as many who immigrated from other countries, have been central in defining the Adirondacks. Adirondack Photographers, 1850–1950 is a comprehensive look at the first one hundred years of photography through the lives of those who captured this unique rural region of New York State. Svenson’s fascinating biographical dictionary of over two hundred photographers is enriched with over seventy illustrations. While the popularity of some of these photographers’ images is reflected in public collections such as the Library of Congress, the New York Public Library, and the Getty Center, little is known about the diverse backgrounds of the men and women behind their work. A compilation of captivating stories, Adirondack Photographers provides a vivid, intimate account of the evolution of photography, as well as an unusual perspective on Adirondack history.

With the Jungian term of the complex the present volume inquires about the making of the artistic persona in twentieth-century photography. The articles examine photographic (self-)portraits, the dynamics between self-statements of artists and photographers, the interrelations of photography, of painting and of performance art and investigate their origins in the history of ideas. The volume traces a portrait of photography as a metascience; as preparatory work, a source of inspiration and an alternate medium in which artists could explore different subjects. With essays by Ulrike Blumenthal, Till Cremer, Victoria Fleury, Jadwiga Kamola, Weronika Kobylinska-Bunsch, Nadja Koeffler, Constance Kruger, Wilma Scheschonk, Gerd Zillner.

A mountain lodge 5,000 feet up in Washington State’s Cascades mountains, accessible only by skis—or an SUV tricked out with bulldozer-size snow tires. A sleek cabin just 80 minutes from Manhattan, overlooking the property’s pond and 19 acres of woodland. A romantic, eco-friendly escape in the misty mountains of Bali’s Gunung Agung volcano. A glass-domed Finnish hut offering unobstructed views of the Northern Lights. Whether readers are seeking a once-in-a-lifetime adventure or a quiet retreat, a cozy night around a firepit or a summery lakefront sojourn, Cabin Tripping delivers. Divided into six chapters—Forest, Tropics, Mountain, Arctic, Water, and Desert—the book features a curated collection of over 80 of the most incredible cabins available to rent all over the globe. Each cabin profile includes information on how to get there, activities to enjoy in the area (hiking trails, fishing holes, thermal spas, and more), and tips like when to plan your visit to maximize your “leaf-peeping� or whale-watching opportunities.

Gives an ethnographic account of the complexities of the use of photography in Africa, both historically and in contemporary practice. This collection of studies in African photography examines, through a series of empirically rich historical and ethnographic cases, the variety of ways in which photographs are produced, circulated, and engaged across a range of social contexts. In so doing, it elucidates the distinctive characteristics of African photographic practices and cultures, vis-a-vis those of other forms of 'vernacular photography' worldwide. In addition, these studies develop areflexive turn, examining the history of academic engagement with these African photographic cultures, and reflecting on the distinctive qualities of the ethnographic method as a means for studying such phenomena. The volumecritically engages current debates in African photography and visual anthropology. First, it extends our understanding of the variety of ways in which both colonial and post-colonial states in Africa have used photography as a means for establishing, and projecting, their authority. Second, it moves discussion of African photography away from an exclusive focus on the role of the 'the studio' and looks at the circulations through which the studios' products - the photographs themselves - later pass as artefacts of material culture. Last, it makes an important contribution to our understanding of the relationship between photography and ethnographic research methods, as these have been employed in Africa. Richard Vokes is Senior Lecturer in Anthropology at the University of Canterbury, New Zealand, and author of Ghosts of Kanungu

Set in the sexual jungle of the New York singles scene, this book follows four real life characters. Equipped with ample provisions of self-delusion, misogyny, anti-semitism and homophobia, Brenda, Michael, Aimee and Mikey frantically pursue their impossible dreams.

Now in its sixth edition, this seminal textbook examines key debates in photographic theory and places them in their social and political contexts. Written especially for students in further and higher education and for introductory college courses, it provides a coherent introduction to the nature of photographic seeing. Individual chapters cover: * Key debates in photographic theory and history * Documentary photography and photojournalism * Personal and popular photography * Photography and the human body * Photography and commodity culture * Photography as art. This revised and updated edition includes new case studies on topics such as: Black Lives Matter and the racialised body; the #MeToo movement; materialism and embodiment; nation branding; and an extended critical discussion of landscape as genre. Illustrated with over 100 colour and black and white photographs, it features work from Bill Brandt, Susan Derges, Rineke Dijkstra, Fran Herbello, Hannah Hoech, Mari Katayama, Sant Khalsa, Karen Knorr, Dorothea Lange, Susan Meiselas, Lee Miller, Ingrid Pollard, Jacob Riis, Alexander Rodchenko, Andres Serrano, Cindy Sherman and Jeff Wall. A fully updated resource information, including guides to public archives and useful websites, full glossary of terms and a comprehensive bibliography, plus additional resources at routledgetextbooks.com/textbooks/9780367222758/ make this an ideal introduction to the field.

"The charming photo book is an educational and charming treat for giftees young and old." -Katie O'Reilly, Sierra Club How long does it take for a frog to develop four legs? And when does a canary first open its eyes? In this charming and original photo book, Dutch photographer Marlonneke Willemsen uses studio style images to transform zoological facts into a highly poetic document of becoming and growing on our planet. Starting with dogs, cats, and guinea pigs and moving right through to reptiles and fish, Willemsen photographs different animals during the very first weeks of their lives, capturing the wonder and fragility of new life and celebrating the diversity of the natural world. Text in English, German and Dutch.

A showcase of ground-breaking photography of fashion magazines over the last century

Acclaimed photography critic Vince Aletti has selected 100 significant magazine issues from his expansive personal archive, revealing images by photographers rarely seen outside their original context. With his characteristic élan and featuring stunning images, Aletti has created a fresh, idiosyncratic, and previously unexplored angle on the history of photography.

Issues, a luxury, oversized object, richly illustrated with brilliant reproductions, and enclosed in an elegant archival-style magazine-file box, is an essential addition to every book collection on photography, fashion, and graphic design.

It's the first survey to explore the history of photography through the lens of fashion magazines, spanning the years 1925 to 2018. Magazines featured include American, British, and French Vogue, Harper's Bazaar, W, Details, Purple Fashion, The Face, Dutch, and many more.

The book includes images rarely, if ever, republished by fashion and art photographers, including Richard Avedon, Cecil Beaton, Edward Steichen, Toni Frissell, Irving Penn, Diane Arbus, Collier Schorr, Inez and Vinoodh, Juergen Teller, Bill Cunningham, and Cindy Sherman.

Over the past twenty-five years, photography has moved to centre-stage in the study of visual culture and has established itself in numerous disciplines. This trend has brought with it a diversification in approaches to the study of the photographic image.

Photography: Theoretical Snapshots offers exciting perspectives on photography theory today from some of the world s leading critics and theorists. It introduces new means of looking at photographs, with topics including:

• a community-based understanding of Spencer Tunick s controversial installations
• the tactile and auditory dimensions of photographic viewing
• snapshot photography
• the use of photography in human rights discourse.

Photography: Theoretical Snapshots also addresses the question of photography history, revisiting the work of some of the most influential theorists such as Roland Barthes, Walter Benjamin, and the October group, re-evaluating the neglected genre of the carte-de-visite photograph, and addressing photography s wider role within the ideologies of modernity. The collection opens with an introduction by the editors, analyzing the trajectory of photography studies and theory over the past three decades and the ways in which the discipline has been constituted.

Ranging from the most personal to the most dehumanized uses of photography, from the nineteenth century to the present day, from Latin America to Northern Europe, Photography: Theoretical Snapshots will be of value to all those interested in photography, visual culture, and cultural history.

Over the past twenty-five years, photography has moved to centre-stage in the study of visual culture and has established itself in numerous disciplines. This trend has brought with it a diversification in approaches to the study of the photographic image.

Photography: Theoretical Snapshots offers exciting perspectives on photography theory today from some of the world s leading critics and theorists. It introduces new means of looking at photographs, with topics including:

• a community-based understanding of Spencer Tunick s controversial installations
• the tactile and auditory dimensions of photographic viewing
• snapshot photography
• the use of photography in human rights discourse.

Photography: Theoretical Snapshots also addresses the question of photography history, revisiting the work of some of the most influential theorists such as Roland Barthes, Walter Benjamin, and the October group, re-evaluating the neglected genre of the carte-de-visite photograph, and addressing photography s wider role within the ideologies of modernity. The collection opens with an introduction by the editors, analyzing the trajectory of photography studies and theory over the past three decades and the ways in which the discipline has been constituted.

Ranging from the most personal to the most dehumanized uses of photography, from the nineteenth century to the present day, from Latin America to Northern Europe, Photography: Theoretical Snapshots will be of value to all those interested in photography, visual culture, and cultural history.