Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new understanding of the art form for the 21st century.

The everyday practice of photography by millions of amateur photographers - the family snapshots, the holiday prints, the wedding portraits - may seem to be a spontaneous and highly personal activity. But Bourdieu and his associates show that few cultural activities are more structured and systematic than the social uses of this ordinary art. This perceptive and wide-ranging analysis of the practice of photography brings out the logic implicit in this cultural field. The norms which define the occasions and the (...) objects of photography serve to display the socially differentiated functions of, and attitudes towards, the photographic image and act. For some social groups, photography is primarily a means of preserving the present and reproducing the euphoric moments of collective celebration, whereas for other groups it is the occasion of an aesthetic judgement, in which photos are endowed with the dignity of works of art. (shrink)

Recent advances in paleoarchaeology show why nothing in the Tate Modern, where a conference on "Agency & Automatism" took place, challenges the roots of 'the idea of the fine arts' (Kristeller) as high levels of craft, aesthetics, mimesis and mental expression, as exemplifying cultures: it is by them that we define our species. This paper identifies and deals with resistances, early and late, to photographic fine art as based on concerns about automatism reducing human agency--that is, mental expression--then offers the (...) fuller account of agency lacking in such discussions. But fine art is not the only value classification we use. (shrink)

I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve (...) artistically interesting communication of thought. The central resources of representation are content, vehicle properties, and the interplay between these two. Whereas painting and other representational arts are able to exploit all three to communicate thought, authentic photography can exploit interplay only to a very limited degree. However, the exploitation of interplay is the culmination of communicative representational art: the natural endpoint in its development. (shrink)

This article examines a strain of contemporary art photography marked by its resemblance to earlier scientific motion studies as indicative of a wider `scientific turn' in recent photographic art. Focusing on Sarah Pickering's series Explosions , Denis Darzacq's The Fall , Ori Gersht's Blow Up and Martin Klimas' Flower Vases , it addresses the conditions that have allowed for forms and methodologies associable with earlier scientific imagery to be reshaped as contemporary art, particularly the large-scale of recent `museum photography' and (...) its self-conscious indeterminacy of meaning. Adopting a schematic approach based on the identification of similarity, I examine the implications of ambiguity and scale as inherent qualities of the work, along with the interpretations that the projects examined share. Noting a potential formalism in artists' repeated isolation of frozen motion, I anchor this interest in the medium-specific qualities of photography in two changes associated with digitization. Where digital post-production has placed pressure on traditional ontological understandings of the medium, the projects are shown to offer a nostalgic return to `purer' forms of photographic production. Drawing on Fredric Jameson's 2003 essay, `The end of temporality', I conclude by considering how the photographs may be implicated in wider transformations to the construction and experience of time under late-capitalism. (shrink)

English summary: The authors invited eighteen artists and theorists to reflect on what is meant by contemporary photography and contemporary art. Historical issues or paradigmatic problems? The articulation of these eighteen points of view, sometimes radically different, can have a fruitful view on issues, concepts, assumptions, and current issues on the subject. French text. French description: Francois Soulages et Marc Tamisier ont invite dix-huit artistes et theoriciens a reflechir sur ce qu'ils entendent par photographie contemporaine et par art contemporain. Questions (...) historiques ou bien problemes paradigmatiques? L'articulation de ces dix-huit points de vue, parfois radicalement differents, permet d'avoir un panorama fecond sur les problematiques, concepts, presupposes et enjeux actuels sur le sujet. L'enjeu premier serait-il l'" art-contemporain " qui ne se reduirait pas alors a l'art qui serait contemporain. Que serait, alors, la " photographie-contemporaine " a l'ere du numerique? L'enjeu ultime est bien le/notre contemporain! (shrink)

Georges Didi-Huberman's study is concerned with epistemological and ethical questions that arise from visual representations of the Shoah, while Michael Fried's is concerned with the ontological possibilities explored by contemporary art photography. The books have two things in common: an argument against postmodern skepticism, and an insistence that photography has become a field in which questions of history, truth, and authenticity are being explored with particular acuity. Rather than reject even the possibility that photographs have something to tell us about (...) the Shoah, Didi-Huberman shows that they can offer important insights into the difficulties and the possibilities of apprehending some aspects of the past.Fried shows that contemporary photographic work has taken on the ambitions of high modernism by accepting the challenge of “to-be-seenness.” Photography as a “historical practice” does not escape from the difficulties of evidence and of the “constructed” nature of historical understanding; photography functions neither as a pure trace of the past, nor as a mere invitation to spectacle. (shrink)

Hysteria, a mysterious disease known since antiquity, is said to have ceased to exist. Challenging this commonly held view, this is the first cross-disciplinary study to examine the current functional neuroimaging research into hysteria and compare it to the nineteenth-century image-based research into the same disorder. Paula Muhr's central argument is that, both in the nineteenth-century and the current neurobiological research on hysteria, images have enabled researchers to generate new medical insights. Through detailed case studies, Muhr traces how different images, (...) from photography to functional brain scans, have reshaped the historically situated medical understanding of this disorder that defies the mind-body dualism. (shrink)

What is photography? Is it primarily a source of knowledge about the world or an art? Many have said the former, because it records the world automatically, others the latter because it embodies human subjectivity. Can it photography be both or must we choose? In On Photography: A Philosophical Inquiry Diarmuid Costello examines these fascinating questions and more. In so doing he introduces some of the fundamental topics and debates about the nature of photography, with the help of photographic images (...) from Paul Strand, Lee Friedlander, James Welling, Jeff Wall, and Gerhard Richter, among others. Tracing the roots of thinking about photography from its discovery, through Nineteenth Century debates about its standing as art, to Twentieth Century Modernism and post-War cultural criticism, Costello identifies the emergence of a powerful "orthodox" view of photography. The features that make photographs compelling documents are precisely those that put pressure on its standing as art; though they provide a wealth of empirical information, they cannot have the unifying vision we look for in art. He draws on the reflections of photographers and theorists, including Paul Strand, Edward Weston, Laszlo Moholy-Nagy, Siegfried Kracauer, Andre Bazin and Stanley Cavell to illustrate this fundamental tension. The view comes to fruition in the work of Roger Scruton and Kendall Walton. Whether pure photography is capable of representing fictions, or always presents a transparent window onto the real world becomes the key question. Recently, the orthodox view has come under increasing pressure from a new generation of philosophers who reject the contrast between machine and hand made images that underwrites it. He concludes by examining photographic agency in a digital age. Written in a clear and engaging style, On Photography: A Philosophical Inquiry is essential reading for anyone interested in the philosophy of photography, aesthetics, art, and visual studies. (shrink)

Firstly, this contribution proposes to address synthographies – images generated through Text-to-image technologies – by deepening the epistemological shift related to the possibility of transposing the image-creation process from the analogue arts to the notational ones (or, by drawing on Nelson Goodman's terminology, from the “autographic” to the “allographic” forms of art). Secondly, the paper highlights how synthographies can be considered partly autographic and partly allographic, since the linguistic prompts constitute only the notational aspect of the generated images. Furthermore, this (...) contribution argues that the recent critiques around such images, which referenced aspects related to the absence of authorial presence and mechanicality, characterised the history of photography since its beginning. Finally, the contribution explores how the possibility to create synthographies that are almost indistinguishable from photographies easily might further separate the interaction between the detective and the depictive functions to the advantage of the latter, erasing what remains of the visual reliability and documental value of images. (shrink)

In recent years, photographs and visualisations of glacier retreat have become emblematic images of climate change and its ecological consequences. This paper presents glacier photography as a subtype of environmental photography. I argue that photographs and photographic projects that focus on glacial retreat are best conceived not only as strategies for proving climate change or as visual rhetoric for social transformation, but also as a practice that potentially plays an integral role in dealing and coping with human-induced environmental loss. To (...) this end, I draw on praxeological accounts in theory of photography and philosophy of art as well as some exemplary photographic projects to develop a framework to analyse glacier photography. With the help of this praxeological framework, multiple orientations in glacier photography are identified: epistemic, aesthetic, emotional and evocative, social, ethical, and political orientations. All these photographic orientations, I argue, point in their own way to the process and consequences of glacial disappearance and loss. The framework presented innovatively brings together scholarship on climate change visualisation, imagery and art, the theory of photography, and philosophical aesthetics. (shrink)

Gustave Le Gray was one of the most technically accomplished and aesthetically enlightened of the early "artist-photographers." Trained as a painter of portraits and landscapes, Le Gray was attracted in the 1840s to the artistic potential of photographic processes. As a photographer he evolved and refined much of photography's primary aesthetic theory. By 1855 he had influenced, if not taught, every important photographer in France. Drawing on entirely new material Eugenia Parry Janis fully analyzes the life and work of Le (...) Gray and demonstrates the originality of his artistic achievement in the context of discoveries about his personal and professional history. Janis, approaching the photographs of Le Gray with the methods and sensibilities of an art historian, reveals telling connections between Le Gray's choices of subject matter and formal means of presentation and the existing pictorial practice of other media such as painting. This same approach makes her sensitive to Le Gray's departures from such traditional practice, and she skillfully illustrates how he evolved from student painter into master photographer. In doing so she gives us a glimpse of the way in which Le Gray's manipulation of the photographic process was always informed by his pictorial needs and by his developing style. (shrink)

The article focuses on the work of Ian Wallace, Jeff Wall and Rodney Graham, in particular, a notion of the studio that provides both an anchor and departure for the work of all three. This genealogy turns primarily on Wallace’s photo-conceptual work from the 1970s, which establishes the space of the studio as an allegory of painting or the modernist tradition, and as the topological equivalent of the museum and street. Using Wallace’s model of post-studio practice as an analytic, the (...) article unpacks the tensions of Wall’s notion of cinematography, highlighting his mounting hesitations with photography understood on the model of the studio system, as an inside/outside relationship and as the mimesis of painting. Finally, the article puts the notions of studio as genealogy and dispositif to work in order to understand the logic of Graham’s emphasis on the durational art of film. (shrink)

The art scene and print media eagerly soak up the trends it sets. Driving force behind this development is the Photography Program at the School of Art and Design Zürich, where experimental confrontations are pursued with a passion.

Photography matters, writes Jerry Thompson, because of how it works -- not only as an artistic medium but also as a way of knowing. It matters because how we understand what photography is and how it works tell us something about how we understand anything. With these provocative observations, Thompson begins a wide-ranging and lucid meditation on why photography is unique among the picture-making arts. Thompson, a working photographer for forty years, constructs an argument that moves with natural logic from (...) Thomas Pynchon to Jonathan Swift to Plato to Emily Dickinson to detailed readings of photographs by Eugène Atget, Garry Winogrand, Marcia Due, Walker Evans, and Robert Frank. He questions Susan Sontag's assertion in On Photography that "nobody" can any longer imagine literate, authoritative, or transcendent photographs. He considers the money-fueled expansion of the market for photography, and he compares ambitious "meant-for-the-wall" photographs with smaller, quieter works. Forcefully and persuasively, Thompson argues for photography as a medium concerned with understanding the world we live in -- a medium whose business is not constructing fantasies pleasing to the eye or imagination but describing the world in the toughest and deepest way. (shrink)

The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20th and 21st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of amateur photographs? In (...) our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

The present essay represents for the author an occasion to retrace his philosophy of art, referring in particular to the themes related to contemporary art. Starting from the historical importance which the photographic experiments of Eadweard Muybridge had for painting (and not only), Arthur Danto once again comes to wonder about the famous Brillo Box of Andy Warhol, demonstrating how, in the face of different avant-guard artistic movements of the early Sixties (specially in the usa), it is indeed philosophy that (...) questions itself, reconsidering its own concept of the eternity of art and the way in which works of art must be interpreted. (shrink)

On Writing with Photography explores what happens to texts—and images—when they are brought together, addressing a wide range of genres and media, including graphic novels, children's books, photo-essays, films, diaries, newspapers, and art installations. Together, these essays help explain how writers and photographers—past and present—have served as powerful creative resources for each other.

Werner Schuster was a doctor long before he became an artist--but it was a childhood fascination with photography that drove him to study radiology in the first place, so it's only fitting that he should now be one of the most versatile and interesting artists working with x-ray photography today. This volume presents full-color reproductions of Schuster's photographs along with those of other photographers, from the pioneering x-ray creators of 1895 to present-day artists working in the medium. An essay by (...) René Harather tells the history of x-ray photography and highlights the most important developments and proponents of the genre since its discovery. The second part of the book turns to Schuster's work, showing how he has expanded the boundaries of the medium and made creative use of the interplay between traditional and x-ray photography. A fascinating look at a stunning marriage of art and science, X-Ray is the first comprehensive representation of the history of x-ray photography. (shrink)

The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19 th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20 th and 21 st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of (...) amateur photographs? In our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

This study examines new and existing photographic and lens-based art focusing upon the theme of social exchange. The text explores the history of documentary photography and maps out current solutions and strategies to problems in the discourse between photographer and subject.

This paper explores some issues concerning the ontology of photography. It would appear that photography’s ontology bears some significant specificities comparing with other art forms. First, the study of negative film and printed photograph relations shows us that photography has a multi-layered ontology, since although the latter is ontologically dependent upon the former, it stands autonomously as work of art. Second, I will consider the problem of forgery in photography. It seems that photographs are autographic and allographic, fakeable and unfakeable. (...) Third, ontological status of negative film will be explored. Apparently, current ontological categories aren’t pertinent as far as negative-photograph’s ontology is concerned. That’s why, relying on Gérard Genette ontological notions, I propose to consider the negative film as «immanence» and the printed photograph as work’s «transcendence». In this regard, printed photograph functions as a manifestation of the negative film. (shrink)

The idea that looking at a photograph is akin to face-to-face perception and that photographs provide genuine perceptual access to the objects they depict was notoriously defended by Kendall Walton in “Transparent Pictures.” Walton’s main thesis is that photographs are transparent in the sense that we can see objects through them. The main goal of this article is to support Walton’s view by providing a full account of photographic transparency. I will argue that the transparency that characterizes photography is not (...) metaphorical but in fact exhibits all the essential properties of transparent materials. To understand how a photograph can be transparent, one must understand the special type of causal connection between a photograph and what it shows. Building on Fritz Heider’s work, I will argue that photography is a visual medium, like air, water, glass, or mirrors, capable of transmitting the visual properties of distant objects to the perceiver. (shrink)

The theory that photographs are images made by belief‐independent feature‐tracking is not a philosopher's invention. It gives concise, precise, and unifying expression to an assemblage of ideas about photography with a long and influential history. Traditional theory ironically flubs the line between photography and drawing precisely because it attempts to put them in opposition to each other. Photographs made by drawing can have a special significance because they originate in richly embodied action with a distinctive expressive character. Making marks by (...) printing has different expressive resources. Photography avails itself of the expressive power of printing and drawing too. The new theory of photography prevails over the traditional theory if it helps to make sense of how the authors use photographs in art and communication. The traditional theory was developed partly in order to explain photographs’ special epistemic power. (shrink)

Photography Theory in Historical Perspective: Case Studies from Contemporary Art aims to contribute to the understanding of the multifaceted and complex character of the photographic medium by dealing with various case studies selected from ...

From the earliest silver-chloride calotypes of inventor of photography William Henry Fox-Talbot to developments in digital photography and the tiny but surprisingly capable cameras that are a component of every smartphone today, photography has changed dramatically over the past 150 years. As technology has advanced, so too has photography as a living, dynamic art form, as evidenced by the innovative techniques and compositions of contemporary photographic artists. Drawing on a diverse collection of historical and contemporary photographs held by Bank Austria (...) and on display at the Museum der Moderne Salzburg, Focus on Photography provides a rich visual record of the history of photography. The photographs reproduced here date from the 1840s to the 1970s and include works by Julia Margaret Cameron, Lewis Carroll, André Kertész, Josef Sudek, Eadweard Muybridge, Alexander Rodchenko, Lászlo Moholy-Nagy, Man Ray, Henri Cartier-Bresson, Diane Arbus, and Arnulf Rainer, among others, and range from landscapes and portraits to cutting-edge modern compositions. Together, they offer readers a series of invaluable reference points for thinking about of the important trends and developments throughout the history of photography. A stunning, kaleidoscopic portfolio featuring nearly two centuries of photographic art with representation from among many major movements and figures, Focus on Photography will be welcomed by all with an interest in this powerful medium. (shrink)

This full-color title is designed to be a classic reference for the millions of photographers going to digital, from enthusiasts shooting family events and vacations with their SLRs, to professionals creating journalistic prints and fine art. It?s the only book on the market with a focus on complete, end-to-end workflow from shoot to print. It?s tied to Adobe?s latest version of Photoshop, which boasts an installed base of 4 million! Serge Timacheff is a professional photographer living in Pacific Northwest. He (...) is the official photographer for the International Fencing Federation, based in Lausanne, Switzerland, and he photographs fencing at World Championships and the Summer Olympics. His 100-percent digital studio provides portraiture, event, commercial, and boudoir photography, and his fine art photographs appear in galleries and individual collections worldwide. David Karlins is a digital imaging expert, Web designer, teacher, consultant and author of numerous books and magazine articles. (shrink)

An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.

This article suggests itself as a movement towards a theory of thinking in photography – that is to say, of thinking photographs. The notion of art as related to thinking is by no means a contemporary one. Within this tradition that has its roots in the advent of modernity, artworks – and particularly paintings – have long been viewed as a form of both thought and thinking. Photography’s place within this tradition, however, is not an easy one. Many of the (...) philosophical accounts surrounding thinking in painting focus on the devices through which painting is said to be thinking. Hubert Damisch and Gilles Deleuze offer the two most comprehensive accounts on this topic, but are the thinking devices proposed by them applicable to photography? Through the discussion of these theories, this article maps the existing philosophical landscape vis-à-vis the thinking image: locating photographic thought within that landscape is the first step towards understanding the peculiarities of photographic thinking. (shrink)

A full-color guide to the art of digital portrait photography Portrait photography entails taking posed photographs of individuals or set scenery and is the most common photo style among the most novice photography hobbyist to the most advanced photographer. With this easy-to-understand guide, bestselling author and professional photographer Doug Sahlin walks you through the best techniques for getting professional-quality digital portraits. Packed with hundreds of full-color photos and screen shots, this book discusses best practices for taking formal portraits, wedding photos, (...) event photos, casual photos, and more. You'll examine the difference between using the built-in flash and natural lighting and take a look at the benefits of upgrading to a photo lighting kit and pro backdrop. Portrait photography is the most popular style of photography Features helpful information for everyone from beginner hobbyists to advanced photographers Shares insider tips for selecting equipment and choosing from the various tools for portrait photography Walks you through working with a wide range of subjects, including children, pets, and wildlife Discusses lighting and editing images Takes a look at ways to create a portrait that is suitable for framing Make sure your subjects are ready for their close ups with this fun and friendly guide to digital portrait photography. (shrink)

Andreas Huyssen has called the Argentinian photographer Marcelo Brodsky's latest project, Nexo, memory art, that is, a form of public mnemonic art that oscillates from installation, photography and monument to memorial, breaking artistic boundaries. The article will explore the role of photography in the field of human rights and the interspace between private and public spheres. Brodsky's work aims to reinstate the gaps in the collective spheres of recollection and this will be contextualized in his artistic production from the late (...) 1970s onwards. Nexo follows on from the internationally acclaimed project Buena memoria that was also an attempt to create a bridge for the memory for the new generation of Argentinians. This contribution aims to explore how Brodsky's artistic production represents what the Argentinian sociologist Elizabeth Jelín has described as art that wants to create a symbolic space to mediate traumatic experiences. (shrink)

Ever since their invention, photographic images have often been thought to be a special kind of image. Often, photography has been claimed to be a particularly realistic medium. At other times, photographs are said to be epistemically superior to other types of image. Yet another way in which photographs apparently are special is that our subjective experience of looking at photographs seems very different from our experience of looking at other types of image, such as paintings and drawings. While the (...) other seemingly distinctive aspects of photography have been quite thoroughly discussed in the literature, theories of the experience of photography, or in other words, theories of its special phenomenology, are less common. To be sure, the phenomenon has often been pointed out and described, but explanations of the phenomenology of photography are rare. In this essay, I attempt an explanation of at least part of the phenomenology of photography by appealing to the idea, borrowed from André Bazin, that a photograph is a certain kind of trace. Along the way, it is also argued that Kendall Walton's so called “transparency thesis” cannot give a plausible explanation of the phenomenology associated with looking at photographs. (shrink)

The ubiquity of camera phones today has made us all photographers, and as these nano-devices attest, the history of photography, perhaps more so than any other art, is also a history of technology, one best revealed in the very vehicle that makes it possible—the camera. Through brief, illustrated chapters on fifty landmark cameras and the photographers who used them, Michael Pritchard offers an entertaining look at photography as practiced by professionals, artists, and amateurs. A History of Photography in Fifty Cameras (...) is organized chronologically, beginning with William Henry Fox Talbot’s wooden “Mousetrap” camera of 1835. Other entries include the Brownie, the Coronet Midget, the Kodak Instamatic 100, and, of course, the Polaroid SX-70. Photographs within each chapter show not only the cameras themselves but also samples of the images made with them. Pritchard uses each camera as a point of entry for talking about the people who used them and the kind of photos they produced, from Weegee and his Speed Graphic to Cartier-Bresson and the Leica’s role in the invention of photojournalism. In the hands of individual photographers, he reveals, cameras came to represent unique styles of depiction. Together, the stories of the fifty cameras gathered here present an approachable and informative take on a medium that continues to fire the imagination, whether we’re perfecting the selfie or longing for the days of Fotomat. (shrink)

There is confusion about what counts as abstraction in photography: art theorists class very different kinds of photographs as abstract, and common philosophical views of photography, if true, should cause us to doubt their very possibility. I address two questions here: ‘What is Abstraction?’ and ‘What is Abstraction in Photography?’ To the answer the second, I briefly consider a third: ‘What is Photography?’ so that the resulting account is not undermined by a poor theory of photography. In answer to my (...) target question, I outline a schematic typology of kinds of work generically typed as ‘abstract’ in order to bring out some differences between them. I distinguish ‘proto’, ‘faux’, ‘constructed faux’, ‘weak’, ‘strong’, ‘constructed’ and ‘concrete’ abstraction, although the differences between them are not always clear-cut and there is room for debate about borderline cases. My goal is not to resolve all such cases, but to show: that there is a range of broadly identifiable kinds of abstraction in photography; that images can be abstract in a variety of ways and for a variety of reasons; and why certain images are not abstract, despite being widely typed as such. (shrink)

The amateur photographer used to be defined as a photography enthusiast or a "photographer of everyday life". Since the 19th century, he has liked to join photo clubs, where he improves his technical skills. Has his position changed fundamentally in the 20th and 21st century? What impact does the growth of the Internet and smartphones have on the amateur photography? And how has the world of art responded to the increase of number as well as visibitity of amateur photographs? In (...) our contribution, we will also look at erasing boundaries between amateur, professional and artistic photography through concrete examples. (shrink)

Drawn from the photography journal Photofile, this volume collects work by prominent critics, theorists, and cultural commentators about many of Australia's most significant photoartists. It illustrates how, located between the realms of fine art and visual culture, photography has underpinned many key developments in our understanding of both during the last decades of the twentieth century. The essays investigate a wide range of subjects including documentary photography, race and representation, and photography and national identity.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 114-121 [Access article in PDF] TRANSFORMING IMAGES: HOW PHOTOGRAPHY COMPLICATES THE PICTURE, by Barbara E. Savedoff. Ithaca, New York: Cornell University Press, 2000, 233 pp., $35.00 hardcover. The very title of Barbara Savedoff's book invites us on a journey into photography's multiple roles. Photographic images transform their subjects at the same time that they themselves are the results of transformations. They also (...) complicate comfortable distinctions between fact and fiction because the world from which they come is complicated.This book appears at a time full of fear (felt by some) and excitement (felt by others) sparked by digital image-making, in which the culture of photography is undergoing transformations of its own. It is a passionate time, with some unwilling to throw the still photograph into the "defunct" pile, while others are all too ready to do so. The limits and possibilities of the still photograph need to be redefined if it is going to have any meaning to anyone anymore.Through the din of voices, through the heated discussions, Savedoff's voice rings clear. Her meditations on the nature of still photography and its relation to the pictorial forms that preceded it (painting, drawing, printmaking) and proceed from it (film, digital photography) are written in a style that seeks to include, not exclude the reader. Art is complicated enough. Writing about art need not complicate it further.Savedoff focuses her inquiry on the way photographs transform works of art and other representations. From the insight that this specificity allows, she attempts to build a more general account of photographic transformation. First, she examines the fascination in Western painting — a fascination that has been influenced by legends and literature — with the idea that representations are alive or can come to life. She begins with paintings that actually illustrate such legends. Then she goes on to paintings where the distinction between the "real" and the "represented" is ambiguous. One such type she calls "gestural ambiguity," found frequently in Northern Renaissance and late Italian Renaissance paintings, "where figures that are given the placement and coloring of stone statues are at the same timegiven the expressive aspect or functions of living beings. Artworks are depicted as though they were alive" (p. 14). Another type, "perceptual ambiguity," is found in Postimpressionist paintings, when artworks and "real" things are painted in the same manner (p. 24). The latter type of ambiguity is created when paintings or sculptures within a painting are depicted in a styleand scale similar to their surroundings, blurring the distinction between what is "real" and what is "represented" in the painting.Savedoff uses some excellent examples in analyzing these ambiguities. And just when the reader begins [End Page 114] to question whether, if there are different ways of achieving ambiguity in paintings of artworks, there must also be different purposes for each, Savedoff addresses precisely this. "In paintings from the Renaissance to Impressionism," she writes, "ambiguity is used to further an ideal of illusionism in art: the artwork is shown as capable of life or at least of being confused with real things" (p. 30). Although this kind of ambiguity may animate representations within the painting, it does so without casting doubt on the status of the "real" things depicted. In contrast, ambiguity used in Postimpressionist paintings were done so for quite a different effect: "to undermine any tendency of the painting toward illusionism and to undercut the status of the 'real' things depicted" (p. 30).Although she critiques the nature and purpose of ambiguity in paintings thoroughly, when Savedoff addresses ambiguity in photography her conclusions are not as well defended. In photography, she writes, "perceptual ambiguity"— that is, the blurring of the distinctions between people and representations — can result from the nature of the medium itself: "the stillness, the flatness, and, in black and white photographs, the limitation of monochrome values" (p. 43). A deliberate choice of angle, framing, and lighting by the photographer can alsoreduce the differences. "Gestural ambiguity" in photography, she continues, can be created when the photographer juxtaposes... (shrink)

The essays explore the relationship between art and politics by considering the connection between the European presence there and aesthetic representations produced by traveling and resident photographers, thereby contributing to how the ...

For students of photography who were born in the digital era, publications and magazines about photography are no longer the reference sources of information, but it is the social platform Instagram. There, they are looking not only for current aesthetic trends, but they also actively use Instagram in their art projects. Lev Manovich calls this modern phenomenon Instagramism. In our paper we look at the basic features of his aesthetics. Than, we will compare how established artists such as Cindy Sherman, (...) Richard Prince and Czech photographer Libuse Jarcovjakova work with Instagram and in which ways their approach is different from the co-called Instagrammers. (shrink)

When a theorist of my persuasion looks at photography he is more concerned with the character traits of the medium as such than with the particular work of particular artists. He wishes to know what human needs are fulfilled by this kind of imagery, and what properties enable the medium to fulfill them. For his purpose, the theorist takes the medium at its best behavior. The promise of its potentialities captures him more thoroughly than the record of its actual achievements, (...) and this makes him optimistic and tolerant, as one is with a child, who has a right to demand credit for his future. Analyzing media in this way requires a very different temperament than analyzing the use people make of them. Studies of this latter kind, given the deplorable state of our civilization, often make a depressing reading. Among Rudolf Arnheim's latest publications are Toward a Psychology of Art, Visual Thinking, and Entropy and Art. A new version of Art and Visual Perception: A Psychology of the Creative Eye, will appear this fall. He is professor of the psychology of art, emeritus, at the Carpenter Center for the Visual Arts, Harvard University. Other contributions to Critical Inquiry are "A Stricture on Space and Time" and "THE LANGUAGE OF IMAGES: A Plea for Visual Thinking". (shrink)

In some cases our sensory organs are no longer capable of rendering processes in the external world perceptible to us. Their inadequacy expresses itself, for example, in phenomena that involve the kind of expansion of space and time in which the conditions for summary perception are no longer at all present. The resources that aid our immediate sense perception in these circumstances will thus be charged with the task of expanding or diminishing space and time to the extent that the (...) contiguity and succession of events is comprehensible to us. The microscope is thus essentially based upon the principle of spatial expansion, the map on that of spatial diminution. The pertinent contrivances for these purposes are largely derived from the graphic arts. How stereoscopy and instantaneous photography, which is based on temporal expansion, facilitate our perception! In spite of the multifarious applications of photography, one has yet to take the step of employing it in the opposite direction, namely as a means of temporal diminution. We demonstrate that phenomena that take place in too ephemeral and too rapid a succession for our eyes can, with the help of instantaneous photographs in series, be analyzed with our senses as the event passes in a comparatively longer time. Quite analogously, we could also compress into a small duration the moments of an event separated widely from one another in time and thereby give our perception an understanding of the nature thereof. (shrink)

Streets have always drawn the attention of photographers. As both defining features of urban landscapes and places for all varieties of chance encounter, they offer a nearly endless combination of static and moving elements that are the stuff of stunning photography--as the photographers in Road Atlas show brilliantly. From classic New York City street scenes by Helen Levitt to the works of the more contemporary street photographers, including, among others, Philip-Lorca diCorcia, Beat Streuli, and Pieter Hugo, Road Atlas presents a (...) survey of the very best of street photography. Captured here is the everyday bustle of streets, sidewalks, and alleyways from Tokyo to São Paulo and beyond, offering tantalizing glimpses of buildings and their inhabitants, people immersed in their daily activities--shedding light, in the process, on poverty and prosperity, stagnation and vanishing urban spaces, and sometimes even of radical change. Through the practiced eyes of the twenty-eight artists showcased here, streets are threads linking cities and bringing people together yet also tokens of the distances that separate them and consign them to solitude. With more than 100 photographs from the renowned DZ Bank art collection in Frankfurt, Road Atlas captures both the oft-overlooked moments of everyday life and the distinctive character of cities worldwide. It accompanies an exhibition that will also be shown at the Opelvillen Rüsselsheim and the Kunstmuseum Dieselkraftwerk Cottbus. (shrink)

Two events in particular occasion this volume on the philosophy of photography: the blurring of boundaries that many took to demarcate photographic technology and practices from other representational and artistic technologies and the invention of digital photography. The purpose of this volume is not to revive older questions by asking what, if anything, still distinguishes photography in the light of these developments, but to consider sundry questions about the materials and tools—or media—of photography from a variety of perspectives. critically examines (...) classic and influential arguments in philosophy of photography addresses recent trends in photographic art, such as conceptualism and appropriation highlights philosophically neglected elements of photographic art, such as performativity and self-portraiture reexamines the role of photographic media in photographic art practices offers new perspectives of the impact of digital technologies on photography explores the relationship between photographic art and photography in other arts and in science brings a range of philosophical methodologies and traditions into dialogue incorporates extended discussions of the work of important photographers and artists who use photography illustrates philosophical points with reproductions, many of them not widely known closely connects philosophical theory to the details of photographic practice offers original and novel theories of the aesthetic, artistic, and epistemic values of photographs. (shrink)