The Photographic Object 1970

"In 1970, photography curator Peter C. Bunnell organized the exhibition Photography into Sculpture for the Museum of Modern Art in New York, bringing together twenty-three photographers and artists from across the United States as well as Vancouver, British Columbia, whose work challenged accepted practices and categories. The Photographic Object 1970 serves as an exhibition catalogue after the fact, an oral history, and critical reading of exhibitions and experimental photography during the 1960s and 70s. It proposes precedents for contemporary artists who continue to blur the boundaries between photography and other art mediums."--Provided by publisher.

"In 1970, photography curator Peter C. Bunnell organized the exhibition Photography into Sculpture for the Museum of Modern Art in New York, bringing together twenty-three photographers and artists from across the United States as well as Vancouver, British Columbia, whose work challenged accepted practices and categories. The Photographic Object 1970 serves as an exhibition catalogue after the fact, an oral history, and critical reading of exhibitions and experimental photography during the 1960s and 70s. It proposes precedents for contemporary artists who continue to blur the boundaries between photography and other art mediums."--Provided by publisher.

The first transnational history of photography’s accommodation in the art museum Photography was long regarded as a “middle-brow” art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book—part institutional history, part account of shifting photographic theories and practices—Alexandra Moschovi tells the story of photography’s accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography’s status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site.

The second edition of Why Art Photography? is an updated, expanded introduction to the ideas behind today’s striking photographic images. Lively, accessible discussions of key issues such as ambiguity, objectivity, fiction, authenticity, and photography’s expanding field are supplemented with new material around timely topics such as globalization, selfie culture, and photographers’ use of advanced digital technologies, including CGI and virtual reality. The new edition includes: an expanded introduction extended chapters featuring emerging trends a larger selection of images, including new color images an improved and expanded bibliography This new edition is essential for students looking to enrich their understanding of photography as a complex and multi-faceted art form.

The definitive history of photography book, Seizing the Light: A Social & Aesthetic History of Photography delivers the fascinating story of how photography as an art form came into being, and its continued development, maturity, and transformation. Covering major events, practitioners, works, and social effects of photographic practice, author Robert Hirsch provides a concise and discerning chronological account of photography, drawing on examples from across the world. This fundamental starting place shows the diversity of makers, inventors, issues, and applications, exploring the artistic, critical, and social aspects of the creative thinking process. This new edition has been fully revised and updated to include the latest advances in technology and digital photography, as well as information on contemporary photographers such as Granville Carroll, Meryl McMaster, Cindy Sherman, Penelope Umbrico, and Yang Yongliang. New topics include the rise of mobile photography and surveillance cameras, drone photography, image manipulation, protest and social justice photography, plus the roles of artificial intelligence and social media in photography. Highly illustrated with over 250 full-color images and contributions from hundreds of artists around the world, Seizing the Light serves as a gateway to the history of photography. Written in an accessible style, it is perfect for those newly engaging with the practice of photography and for experienced photographers wanting to contextualize their own work.

"Having undergone profound material, aesthetic, and institutional transformations since the arrival of digital technologies, photography and film frequently intersect in the processes of convergence (the shared technological basis of diverse media in digital code) and remediation (the mutual reshaping of old and new media). However, the foundational relations between film and photography have a long history extending well back into the nineteenth century. This history includes many acclaimed practitioners who have worked in both media, such as Albert Kahn, Helen Levitt, Agnès Varda, Chris Marker, Robert Frank, Wim Wenders, Abbas Kiarostami, and Fiona Tan, but it also involves a range of intermedial forms that combine elements of both media, such as the film still, the film photonovel, and the photofilm. These hybrid forms were long neglected critically because they were considered marginal forms of paratextuality or deviations from medium specificity-the idea that a medium must be deployed according to its own specific capacities compared to other media"--

This innovative volume explores the idea that while photographs are images, they are also objects, and this materiality is integral to their meaning and use. The case studies presented focus on photographs active in different institutional, political, religious and domestic spheres, where physical properties, the nature of their use and the cultural formations in which they function make their 'objectness' central to how we should understand them. The book's contributions are drawn from disciplines including the history of photography, visual anthropology and art history, with case studies from a range of countries such as the Netherlands, North America, Australia, Japan, Romania and Tibet. Each shows the methodological strategies they have developed in order to fully exploit the idea of the materiality of photographic images.