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Presenting two decades of work by Abigail Solomon-Godeau, Photography after Photography is an inquiry into the circuits of power that shape photographic practice, criticism, and historiography. As the boundaries that separate photography from other forms of artistic production are increasingly fluid, Solomon-Godeau, a pioneering feminist and politically engaged critic, argues that the relationships between photography, culture, gender, and power demand renewed attention. In her analyses of the photographic production of Cindy Sherman, Robert Mapplethorpe, Susan Meiselas, Francesca Woodman, and others, Solomon-Godeau refigures the disciplinary object of photography by considering these practices through an examination of the determinations of genre and gender as these shape the relations between photographers, their images, and their viewers. Among her subjects are the 2006 Abu Ghraib prison photographs and the Cold War-era exhibition The Family of Man, insofar as these illustrate photography's embeddedness in social relations, viewing relations, and ideological formations.
Here is the history weve been waiting for ... erudite and entertaining ... she shows how pictures really did change our world. Her shrewd selection of over 600 fascinating photos (many in colour) illustrate a history that meets the ultimate test; open to any page and youre hooked ... and its free from tormenting academic jargon. Camera Arts This groundbreaking survey of international photography, which examines the discipline across the full range of its uses by both professionals and amateurs, has been expanded and brought up to date for this second edition. Each of the eight chapters takes a period of up to forty years and examines the medium through the lenses of art, science, social science, travel, war, fashion, the mass media and individual practitioners. These broad topics complement a fully developed cultural context whose emphasis is more on key ideas than individuals. The author also pays close attention to how contemporary practitioners, commentators and beholders have talked about specific works, the nature of photography and the photographers changing role in society.
Illustrates the aftermath of disasters through color photographs of events ranging from the Holocaust to Hurricane Katrina, and essays that describe the event, the photographer, and methods used to capture the shots.
This compendium examines the choices, construction, inclusions and exemptions, and expanded practices involved in the process of creating a photograph. Focusing on work created in the past twenty-five years, this volume is divided into sections that address a separate means of creating photographs as careful constructs: Directing Spaces, Constructing Places, Performing Space, Building Images, and Camera-less Images. Introduced by both a curator and a scholar, each section features contemporary artists in conversation with curators, critics, gallerists, artists, and art historians. The writings include narratives by the artist, writings on their work, and examinations of studio practices. This pioneering book is the first of its kind to explore this topic beyond those artists building sets to photograph.
Surveying the spectrum of photography from the mid-nineteenth century to the present, Photography: A Critical Introductionis the first book to examine key debates in photographic theory and place them in their proper social and political contexts. While most histories of photography invariably focus on the works of the "great photographers," this book is written especially to provide a coherent introduction to the nature of photographic seeing and its personal and cultural significance through history. Contributors lucidly examine a range of major photographic theories, histories, genres and issues, covering such topics as key debates in photographic theory and history; documentary photography and photojournalism; personal and popular photography; photography and commodity culture; photography and the human body; photography as art; and photography in the age of electronic imaging. This completely revised and updated second edition includes detailed case studies; key references, biographies of key thinkers, and margin notes; a full glossary of terms, comprehensive end-of-chapter bibliographies, and resource information, including guides to public archives and useful web sites. The lavish illustrations include images by Bill Brandt, Lee Friedlander, Hannah Hoch, Roshini Kempadoo, Dorothea Lange, Lee Miller, Alexander Rodchenko, Jacob Riis, Sebastio Salgado, Andres Serrano and Jo Spence.
*Searchable CD ROM containing the entire book (including images) *Over 450 color images, plus never before published images provided by the George Eastman House collection, as well as images from Ansel Adams, Howard Schatz, and Jerry Uelsmann to name just a few The role and value of the picture cannot be matched for accuracy or impact. This comprehensive treatise, featuring the history and historical processes of photography, contemporary applications, and the new and evolving digital technologies, will provide the most accurate technical synopsis of the current, as well as early worlds of photography ever compiled. This Encyclopedia, produced by a team of world renown practicing experts, shares in highly detailed descriptions, the core concepts and facts relative to anything photographic. This Fourth edition of the Focal Encyclopedia serves as the definitive reference for students and practitioners of photography worldwide, expanding on the award winning 3rd edition. In addition to Michael Peres (Editor in Chief), the editors are: Franziska Frey (Digital Photography), J. Tomas Lopez (Contemporary Issues), David Malin (Photography in Science), Mark Osterman (Process Historian), Grant Romer (History and the Evolution of Photography), Nancy M. Stuart (Major Themes and Photographers of the 20th Century), and Scott Williams (Photographic Materials and Process Essentials)

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