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Recent decades have seen photography's privileged relationship to
the real come under question. Spurred by the postmodern critique of
photography in the 1980s and the rise of digital technologies soon
thereafter, scholars have been asking who and what built this
understanding of the medium in the first place. Photography and
Doubt reflects on this interest in photography's referential power
by discussing it in rigorously historical terms. How was the
understanding of photographic realism cultivated in the first
place? What do cases of staged and manipulated photography reveal
about that realism's hold on audiences across the medium's history?
Have doubts about photography's testimonial power stimulated as
much knowledge as its realism? Edited by Sabine T. Kriebel and
Andres Mario Zervigon, Photography and Doubt is the first
multi-authored collection specifically designed to explore these
questions. Its 13 original essays, illustrated with 73 color
images, explore cases when the link between the photographic image
and its referent was placed under stress, and when photography was
as attuned to its myth-making capabilities as to its claims to
authenticity. Photography and Doubt will serve as a valuable
resource for students and scholars in art history, visual and media
studies, philosophy, and the history of science and technology.
Recent decades have seen photography's privileged relationship to
the real come under question. Spurred by the postmodern critique of
photography in the 1980s and the rise of digital technologies soon
thereafter, scholars have been asking who and what built this
understanding of the medium in the first place. Photography and
Doubt reflects on this interest in photography's referential power
by discussing it in rigorously historical terms. How was the
understanding of photographic realism cultivated in the first
place? What do cases of staged and manipulated photography reveal
about that realism's hold on audiences across the medium's history?
Have doubts about photography's testimonial power stimulated as
much knowledge as its realism? Edited by Sabine T. Kriebel and
Andres Mario Zervigon, Photography and Doubt is the first
multi-authored collection specifically designed to explore these
questions. Its 13 original essays, illustrated with 73 color
images, explore cases when the link between the photographic image
and its referent was placed under stress, and when photography was
as attuned to its myth-making capabilities as to its claims to
authenticity. Photography and Doubt will serve as a valuable
resource for students and scholars in art history, visual and media
studies, philosophy, and the history of science and technology.
Recent decades have seen a flourishing interest in and speculation
about the origins of photography. Spurred by rediscoveries of
'first' photographs and proclamations of photography's death in the
digital age, scholars have been rethinking who and what invented
the medium. Photography and Its Origins reflects on this interest
in photography's beginnings by reframing it in critical and
specifically historiographical terms. How and why do we write about
the origins of the medium? Whom or what do we rely on to construct
those narratives? What's at stake in choosing to tell stories of
photography's genesis in one way or another? And what kind of work
can those stories do? Edited by Tanya Sheehan and Andres Mario
Zervigon, this collection of 16 original essays, illustrated with
32 colour images, showcases prominent and emerging voices in the
field of photography studies. Their research cuts across
disciplines and methodologies, shedding new light on old questions
about histories and their writing. Photography and Its Origins will
serve as a valuable resource for students and scholars in art
history, visual and media studies, and the history of science and
technology.
Recent decades have seen a flourishing interest in and speculation
about the origins of photography. Spurred by rediscoveries of
'first' photographs and proclamations of photography's death in the
digital age, scholars have been rethinking who and what invented
the medium. Photography and Its Origins reflects on this interest
in photography's beginnings by reframing it in critical and
specifically historiographical terms. How and why do we write about
the origins of the medium? Whom or what do we rely on to construct
those narratives? What's at stake in choosing to tell stories of
photography's genesis in one way or another? And what kind of work
can those stories do? Edited by Tanya Sheehan and Andres Mario
Zervigon, this collection of 16 original essays, illustrated with
32 colour images, showcases prominent and emerging voices in the
field of photography studies. Their research cuts across
disciplines and methodologies, shedding new light on old questions
about histories and their writing. Photography and Its Origins will
serve as a valuable resource for students and scholars in art
history, visual and media studies, and the history of science and
technology.
Beginning around 1910, vanguard artists demanded that true art go
beyond the intellectual and transform daily life. This volume
highlights the work of six influential European artists who took
this idea into the wider world, where it merged enthusiastically
with demands in the industrial marketplace, the nascent mass media,
and urban popular culture. Featured are Piet Zwart, a Dutch
designer who brought his minimalist aesthetic vision to ubiquitous
items like biscuit boxes and postage stamps; Karel Teige, leader of
the Czech avant-garde, who produced brilliant book and journal
designs; his compatriot Ladislav Sutnar, who brought modernist
"good design" to tableware, clothing, and children's toys; Gustav
Klutsis, who pioneered using photomontage for political purposes;
Lazar (El) Lissitzky, who produced some of the most exciting book,
poster, and exhibition designs of the 1920s and '30s in Germany and
Russia; and German artist John Heartfield, who worked exclusively
in photomontage to design book covers, journals, and agitational
posters for the Communist cause. Distributed for the Art Institute
of Chicago Exhibition Schedule: The Art Institute of Chicago
(06/11/11-09/18/11)
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