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    Reading photography : a sourcebook of critical texts, 1921-2000 / [articles selected by] Sri Kartini Leet ; [edited by Alison Hill].

    • Title:Reading photography : a sourcebook of critical texts, 1921-2000 / [articles selected by] Sri Kartini Leet ; [edited by Alison Hill].
    •    
    • Other Contributors/Collections:Leet, Sri-Kartini.
      Hill, Alison.
    • Published/Created:Farnham : Lund Humphries, 2011.
    • Holdings

       
    • Library of Congress Subjects:Photographic criticism.
      Photography--History--20th century.
      Art and photography--History.
      Photography--Bibliography.
    • Description:xxvii, 372 p., [8] p. of plates : ill. ; 24 cm.
    • Notes:"This book is part of the Art in Context series commissioned by the late Professor Graham Clarke. Also available in the series: Sources of Surrealism. --Title page verso.
      Includes bibliographical reference and index.
    • ISBN:9780853319764
      0853319766
    • Contents:Machine generated contents note: 1. 'The Camera Mind and Eye', Magazine of Art, Washington D.C.: American Federation of Arts, 1937-1953, January 1952, pp 17-19
      2. 'Seeing Photographically' in Alan Trachtenberg (ed.), Classic Essays on Photography, New Haven, Conn.: Leete's Island Books, 1980, pp 172-5 / Minor White
      3. Modernism; Photography; Art' in The History of Photography, London: Taylor and Francis Ltd., Volume 13, Number 1,1989, pp 97-102 / Edward Weston
      4. Marks of Indifference: Aspects of Photography in, or as, Conceptual Are, Ann Goldstein and Anne Rorimer, Reconsidering the Object of Art, 1965-1975, exhibition catalogue (Los Angeles: Museum of Contemporary Art, 1995), p. 247-267 / Aaron Scharf
      5. Taking Issue: Artists as Photographers' in Gerry Badger (ed.), Through the Looking Glass: Photographic Art in Britain 1945-1989, London: Barbican Art Gallery, 1989, pp 89-95 / Jeff Wall
      6. 'Image in Question: Further notes on the Directorial Mode' in True Stories and Photo Fictions, Cardiff: The Fotogallery, 1987, pp 2-11 (Reprinted in A.D. Coleman, Depth of Field: Essays on Photography, Mass Media and Lens Culture. Albuquerque, New Mexico: University of New Mexico Press 1998, pp [ect.] / Sarah Kent
      1. 'Photography' in Painting, Photography, Film, translated by Janet Seligman, London: Lund Humphries, 1969, pp 27-9 (Originally published as Malerei, Fotografie, Film, Volume 8 in the Bauhausbücher series, 1925) / A.D. Coleman
      2. 'What the Eye Does Not See', translated by John E. Bowlt, in Christopher Phillips (ed.), Photography in the Modern Era, New York: The Metropolitan Museum of Art & Aperture, 1989, pp 219-220 (Originally published as "Chego ne vidit glaz", in Sovetskoe kino (Soviet cinema), Moscow, no.2, 1926) / László Moholy-Nagy
      3. 'Photomontage', translated by Joel Agee, in Christopher Phillips (ed.), Photography in the Modern Era, New York: The Metropolitan Museum of Art &Aperture,1989, p.178-180 (Originally published as Fotomontage', a bis z, Cologne, May 1931, pp 61-2) / Ossip Brik
      4. 'The Age of Light', in Alan Trachtenberg (ed.), Classic Essays on Photography, New Haven, Conn.: Leete's Island Books, 1980, p. 167-8 (Originally published in Man Rcry:104 Photographs 1920-1934, Paris & Hartford, Conn.: James Thrall Soby, 1934) / Raoul Hausmann
      5. 'Space-Time and the Photographer in American Annual of Photography, LVII 152, New York, 1943, pp 10-12 / Man Ray
      6. Armed Vision Disarmed -Radical Formalism from Weapon to Style', in Photography at the Dock. Essays on Photographic History, Institutions and Practices, University of Minnesota Press, 1991, pp 52-84 / Lázló Moholy-Nagy
      1. 'The Photographic Conditions of Surrealism' in Liz Heron and Val Williams (eds.), Illuminations, London and New York: I.B. Tauris, 1991, pp 87-9 (Originally published in October, No. 19, Winter 1981) / Abigail Solomon-Codeau
      2. 'Photography and the Surrealist Text', in Rosalind Krauss & Jane Livingston (eds.), L'Amour Fou: Photography and Surrealism, New York: Abbeville Press, and The Corcoran Gallery of Art, Washington, D.C., 1985, pp 156-179 / Rosalind Krauss
      3. 'Lee Miller's Photographic Impersonations, 1930-1945, Conversing with Surrealism' in History of Photography, Vol. 18, #3 Autumn 1994, pp 235-7 / Dawn Ades
      4. 'On the Dissection Table: The Unnatural Coupling of Surrealism and Photography', in Carol Squiers (ed.) Overexposed, New York: The New Press, 2000, pp 130-132 / Amy J. Lyford
      5. 'Dialogue and Double Allegiance: Some Contemporary Women Artists and the Historical Avant-Garde' in Whitney Chadwick (ed.), Mirror Images: Women, Surrealism and Self-Representation, Cambridge, Mass. and London: MIT Press, 1998, pp 131-3 / Andy Grunberg
      1. 'Colour Photography: The Vernacular Tradition' (1980) and 'Is Criticism of Colour Photography Possible?' (1982) in Tarnished Silver after the photo boom, New York: Midmarch Arts Press, 1996, pp 119-121 and pp 123-7 / Susan Robin Suleiman
      2. 'Photography: The Coming of Age of Colour' in Photography and Fascination, Danbury, New Hampshire: Addison House, 1979, pp 190-195 / A.D. Coleman
      3. 'Color', in Diana and Nikon, Boston: David R Godine, 1980, pp 88-93 / Max Kozloff
      1. 'A Short History of Photography', in Screen, London: Society for Education in Film and Television, Spring 1972, pp 7-21 (Originally published in The Literarische Welt, 18.9, 25.9, and 2.10, 1931) / Janet Malcolm
      2. Camera Lucida, London: Vintage, 1993, pp 26-89 (Originally published as La Chambre Claire, Editions du Seuil, 1980) / Walter Benjamin
      3. 'The Photographic Message, in Image-Music-Text, trans. Stephen Heath, London: Fontana Press, 1977, pp 18-28 / Roland Barthes
      4. 'Five Notes for a Phenomenology of the Photographic Image, in Alan Trachtenberg (ed.), Classic Essays on Photography, New Haven, Conn.: Leete's Island Books, 1980, pp 287-290 (Originally published in L'Arc, Paris, 1963) / Roland Barthes
      5. 'Understanding a Photograph', in Geoff Dyer (ed.) John Berger Selected Essays, London: Bloomsbury, 2001, pp 216-8 (Originally published in John Berger, The Look of Things, 1972) / Hubert Damisch
      6. 'On the Invention of Photographic Meaning', in Victor Burgin (ed.) Thinking Photography, London: Macmillan, 1982, pp 93-7 / John Berger
      7. 'Seeing Sense' in The End of Art Theory, Basingstoke and London: Macmillan Press Ltd., 1986, pp 62-70 / Allan Sekula
      8. 'Photography' in Tweak a Philosophy of Photography, Göttingen: European Photography, 1983, pp 32-3 / Victor Burgin
      1. 'The Photographic Activity of Postmodernism' in October 15, Winter 1980, pp 97-9 / Vilém Flusser
      2. 'Winning the Game When the Rules have been Changed: Art Photography and Postmodernism' in Photography at the Dock: Essays on Photographic History, Institutions and Practices, University of Minnesota Press, 1991 / Douglas Crimp
      3. 'The Snapshooters of History: Passages on the Postmodern Argument' in Ten. 8, No. 32, 1989, pp 5-6 / Abigail Solomon-Godeau
      4. Discourse of Others: Feminists and Postmodernism', in Beyond Recognition: Representation, Power and Culture, Berkeley, Los Angeles and London: University of California Press, 1992, pp 173-184 / Steve Edwards
      5. 'Fetishism of Black-and-White and the Vulgarity of Colour', an interview with Antonio Guzmán, a version of which appeared in Karen Knorr: Vues de l'Esprit. Photographies, in Marks of Distinction, London: Thames and Hudson, 1991, pp 124-9 / Craig Owens
      1. Rhetoric of the Pose: Photography and the Portrait as Performance, in The Object of Performance: The American Avant-Garde since 1970, Chicago and London: The University of Chicago Press, 1989, pp 49-53 / Karen Knorr
      2. 'Public Faces, Private Lives: August Sander and the Social Typology of the Portrait Photograph in Graham Clarke (ed.), The Portrait in Photography, London: Reaktion Books, 1992, pp 74-82 / Henry M. Sayre
      3. Aperture Monograph, New York: Aperture, 1972, pp 1-3 / Graham Clarke
      4. 'Other Selves in Photographic Self-Portraiture' in Robert Sobieszek and Deborah Irmas (eds.) The Camera I: Photographic Self Portraits from the Audrey and Sydney Irmas Collection, Los Angeles and New York: Los Angeles County Museum of Art (LACMA) and Harry N. Abrams, 1994, pp 23-30 / Diane Arbus
      5. 'Mask as Descriptive Content', in the Photograph: A Strange, Confined Space, Stanford, California: Stanford University Press, 1994, pp 118-122 / Robert A. Sobieszek
      1. Photograph as an Intersection of Gazes: The Example of National Geographic', in Lucien Taylor (ed.) Visualizing Theory, New York and London: Routledge, 1994, pp 369-372 / Mary Price
      2. 'Doubletake: The Diary of a Relationship with an Image' in Lucy Lippard (ed.), Partial Recall, New York: The New Press, 1992, pp 34-45 / Jane Collins / Catherine Lutz
      3. 'The Parallel Histories of Anthropology and Photography' in Elizabeth Edwards (ed.), Anthropology and Photography, London and New Haven: Yale University Press, 1992, pp 90-91 / Lucy Lippard
      4. 'The Impossible Science of Being: Dialogues Between Anthropology and Photography, Landon: The Photographers' Gallery, 1995, p. 30 / Christopher Pinney
      5. 'The Body and the Archive, October, no. 39, Winter 1986, pp 363-8, Cambridge, Mass.: MIT Press, pp 37-48 / Lola Young / Dave Lewis
      6. 'Representing the Body Archivally in South African Photography', in Art Journal, New York: College Art Association, Inc., Spring 2002, pp 60-62 / Allan Sekula
      7. 'Colonial Imagery: Tropes of Disruption: History, Culture and Representation in the Works of African Photographers', in Clare Bell (ed.)In/sight: African Photographers 1940 to the present, New York: Solomon R. Guggenheim Museum, 1996, pp 35-8 / Lauri Firstenberg
      8. 'Home from Home: Portraits of places in between in Self-Evident, Birmingham: Ikon Gallery and Autograph, 1995 (introductory essay with no page numbers) / Octavio Zaya / Okwui Enwezor
      9. 'Orienting the Asian Male Body in the Photography of Yasumasa Morimura' in Deborah Bright (ed.), The Passionate Camera: Photography and Bodies of Desire, London and New York: Routledge, 1998, pp 235-8 / Kobena Mercer
      1. Gaze' in Threshold of the Visible World, London and New York: Routledge, 1996, pp 135-7 / Paul B. Franklin
      2. 'Anatomy of the Gaze' in G. Malanga (ed.), Scopophilia: The Love of Looking, New York: Alfred Van Der Marck Editions, 1985, pp 122-3 / Kaja Silverman
      3. Bellocq, Golerie J. et. J. Donguy, Paris Andiovisuel, 1988, no pagination / Gerard Malanga
      4. 'Photography and Fetish' in October 34 (1985), Cambridge: MIT Press, 1985, pp 85-87 / Patrick Roegiers
      5. 'Witkin's Others' in Exposure, Vol. 26, #1, 1988, pp 21-3, Chicago: Society for Photographic Education / Christian Metz
      Contents note continued: 6. Ways of Seeing, London: Penguin, and the BBC, 1972, pp 45-7 / Cynthia Chris
      7. Nudes, London: Jonathan Cape, 1998, First published in 1991, no pagination / John Berger
      8. 'Remodelling Photo History' in Jo Spence, Putting Myself in the Picture, Seattle: The Real Comet Press, 1988, pp 119-121 / Ingrid Sischy
      9. Dialogue with Spectatorship: Barbara Kruger and Victor Burgin', in Creative Camera, 1983, London: CC Publishing, p. 1377-1382 / Terry Dennett / Jo Spence
      10. Introduction to The Male Nude in Contemporary Photography, Philadelphia: Temple University Press, 1991, p.18 / Laura Mulvey
      1. 'Fire and Ice', in John X Berger and Olivier Mellon (eds.) Other than Itself Writing Photography, Manchester: Cornerhouse publications in association with Derbyshire College of Higher Education and Camerawork, 1989, no pagination / Melody D. Davis
      2. 'Through the Narrative Portal' in Artforum, Vol. 24, No. 8, Apri1 1986, p.88 / Peter Wollen
      3. 'Wright Morris's 'photo-texts", 'The Yale Journal of Criticism, 9.1, 1996, pp 111-5, Yale University and the Johns Hopkins University Press, reprinted with permission of the Johns Hopkins University Press / Max Kozloff
      4. 'The Narrative Resources of the Photograph in The Spoken Image, London: Reaktion, 1999, pp 222-7 / Alan Trachtenberg
      5. 'Time Exposure and Snapshot: The Photograph as Paradox' in October 5, Photography A Special Issue, Cambridge, Mass,: MIT Press, Summer 1978, pp 119-123 / Clive Scott
      1. 'Photography', in The Mass Ornament: Weimar Essays', translated and edited by Thomas Levin, London, Cambridge (Mass.): Harvard University Press, 1995, pp 50-51, originally published in German (copyright Siegfried Kracauer, Schriften, vol. 5, Suhrkamp Verlag, Frankfurt Main, 1990) / Thierry de Duve
      2. 'Ways of Remembering', Camerawork, no, 10, July 1978, London: Half Moon Photography Workshop, PP 1-2 / Siegfried Kracauer
      3. 'Remembrance', in Jo Spence and Patricia Holland (eds) Family Snaps: the Meanings of Domestic Photography, London: Virago Press,1991, pp 20-21 / John Berger
      4. 'My Life is in that Box, Ten-8, No. 34, Autumn 1989, pp 39-40, Birmingham: Ten-8 / Annette Kuhn
      5. Unredeemed Past: Enigmas of Collective Memory, 1980-1992' in Watworks: Women Photography and the Iconography of War, London: Virago Press, 1994, pp 61-4 / Jeremy Seabrook
      1. 'The Work of Art in the Age of Mechanical Reproduction, in Hannah Arendt (ed.), Illuminations, translated by Harry Zolm, London: Fontana Press, 1973, pp 217-220 (Originally published in Zeitschrift für Sozialforschung, V,1, 1936) / Val Williams
      2. 'The Rhetoric of the Image, in Image-Music-Text, trans. Stephen Heath, London: Fontana Press, 1977, pp 33-6 / Walter Benjamin
      3. 'The Construction of Illusion', in Liz Wells (ed.), Photography: a Critical Introduction, London: Routledge, 1997, pp 189-193 / Roland Barthes
      4. 'Missing Women: Rethinking Early Thoughts on Images of Women' in Carol Squiers (ed.) Overexposed, New York: The New Press, 2000, pp 243-5 / Anandi Ranamurthy
      5. 'Travel Products: promoting the tourist vision' in Travelling Light, Manchester and New York: Manchester University Press, 2000, pp 84-7 / Griselda Pollock
      6. 'Fashion was the Least Important Thing' in Look at Me: Fashion and Photography in Britain 1960 to the present, London: Arts Council, 1998, pp 100-108 / Peter D. Osborne
      1. Snaphot [-] some notes', in Snapshots: The Photography of Everyday Life [-] 1888 to the Present, San Francisco: San Francisco Museum of Modern Art, 1998, pp 13-14 / Val Williams
      2. Lisette Model (pp 6-7); Paul Strand (taped by J. Green during Strand's trip to New York in 1973, pp 47-9) in a special edition on the snapshot, Jonathan Green (ed.), Aperture, Vol. N, No. 1, 1974 / Douglas R. Nickel
      3. 'Photographing the Familiar', Aperture, vol.1, no, 2, 1952, pp 9-15, New York: Aperture / Douglas R. Nickel
      4. Extract from a conversation with Mark Holborn, at breakfast, Greenwood Mississippi, February 1988, in The Democratic Forest, London: Martin Seeker and Warburg, 1989, pp 171-3 / Daniel Dixon / Dorothea Lange
      5. 'Articulating the Commonplace' (an excerpt from an interview conducted by Mark Haworth-Booth), History of Photography, vol. 21, no. 4, Winter 1997, pp 330-331, London: Taylor and Francis Ltd. / William Eggleston
      6. 'Unconscious Optics' in Family Frames: Photography Narrative and Postmemory, Cambridge, Mass., and London: Harvard University Press, 1997, pp 135-8 / Ian Jeffrey
      7. 'Family, Education, Photography', in Consuming Passions: The Dynamics of Popular Culture, Marion Boyars Publishers, 1986, pp 119-126 / Marianne Hirsch
      1. introductory essay to Ian Jeffrey and David Plowden (eds.) Landscape, London: Thames and Hudson, 1984, pp 18-20 / Judith Williamson
      2. 'Of Mother Nature and Marlboro Men: An inquiry into the Cultural Meanings of Landscape' in Richard Bolton (ed.) The Contest of Meaning: Critical Histories of Photography, London; Cambridge, Mass.: MIT Press, 1989, pp 137-9 / Ian Jeffrey
      3. 'Nine Cultural Landscapes' in Diane Neumaier (ed.), Reframings: New American Feminist Photographies, Philadelphia: Temple University Press, 1995, pp 34-45 / Deborah Bright
      4. Body's Geography: Female Versions of Landscape, in Women's Camera Work: Self/Body/Other in American Visual Culture, Durham and London: Duke University Press, 1998, pp 300-302 / Lucy Lippard
      1. 'The City in Photography', in The Photograph, Oxford and New York: Oxford University Press, 1997, pp 77-82 / Judith Fryer Davidov
      2. 'Paris Pictured: Street Photography 1900-1968', (introduction to) Paris Pictured, London: Royal Academy of Arts, 2002, no pagination / Graham Clarke
      3. 'Photos of the Metropolis' in Thomas Struth: Unconscious Places, Münster: Landschaftsverband Westfalen-Lippe, 1987, pp 76-9 / Julian Stallabrass
      4. 'Life and Death Photography: Nobuyoshi Araki in Tokyo Novelle, translated from the Dutch by Ruth Koenig, Kunstmuseum Wolfsburg, Ostfildem-Ruit: Cantz Verlag, 1997, pp xii-xiii / Ulrich Loock
      5. 'Weegee's Voyeurism and the Mastery of Urban Disorder' in American Art, Vol. 6, No. 1, Winter 1992, pp 27-33 / Gijs van Tuyl
      6. Engendering the City: Women Artists and Urban Space, London: Scarlet, 1997, pp 20-23 / Miles Orvell
      1. 'The Assignment I'll Never Forget', in Beaumont Newhall (ed.), Photography: Essays and Images, Seeker and Warburg, 1980, pp 263-4 (Originally published in Popular Photography 46 (February 1960), pp 42,126) / Marsha Meskimmon
      2. 'In, around, and afterthoughts (on documentary photography)' in Richard Bolton (ed.) The Contest of Meaning, London; Cambridge, Mass.: MIT Press,1989, pp 317-321 (Originally published in 3 Works, Halifax, N.S.: Press of the Nova Scotia College of Art and Design, 1981) / Dorothea Lange
      3. Who Is Speaking Thus? Some Questions about Documentary Photography' in Photography at the Dock, Minneapolis: University of Minnesota Press, 1991, pp 180-182 (Originally published in The Event Horizon (ed. Lorne Falk and Barbara Eischer), Toronto: Coach House Press, 1987) / Martha Rosler
      4. 'The Foreign and the Fabulous' (1981), pp 181-3 and The "New Photojournalism" and the Old (1987) in Crisis of the Real, New York Aperture, 1999, pp 186-190 / Abigail Solomon-Godeau
      5. Currency of the Photograph: New Deal Reformism and Documentary Rhetoric in The Burden of Representation: Essays on Photographies and Histories, Minneapolis: University of Minnesota Press, 1993, pp 173-5 / Andy Grundberg
      6. 'Propaganda and Persuasion' in David Featherstone (ed.), Observations: Essays on Documentary Photography, Malibu, California: The J. Paul Getty Museum, 1991, pp 110-113 / John Tagg
      1. 'Thoughts on War Photography' in Hands Eralin (ed.), The Indelible Image: Photographs of War- 1846 to the present, New York: Harry N. Abrams Inc., 1985, pp 14-15 / Estelle Jussim
      2. 'Photographs of Agony' in About Looking, New York: Vintage, 1991, pp 41-44 (Originally published by Writers and Readers in 1980) / Jane Livingston
      3. 'Photographing Evil' in Beauty in Photography, New York: Aperture, 1996, pp 69-74 / John Berger
      4. 'The Death System' in Marshall Blonsky (ed.) On Signs, Oxford: Basil Blackwell, 1985, pp 40-42, followed by Susan Meiselas', 'A Portfolio on Central America', pp 43-53 / Robert Adams
      5. 'Image and Context: The Production and Reproduction of 'The Execution of a VC Suspect by Eddie Adams', in J. Walsh and J. Aulich (eds), Vietnam Images: war and representation, London: The Macmillan Press Ltd., 1989, pp 178-181 / Edmundo Desnoes
      1. 'Ask It No Questions: 'The Camera Can Lie', The New York Times, Arts and Leisure Section 2, August 12th, 1990, p 29 / Robert Hamilton
      2. 'Pedro Meyer: Truths, Fictions, and Reasonable Doubts' in Pedro Meyer, Truths and Fictions: A Journey from Documentary to Digital Photography, New York: Aperture, 1995, pp 9-11. Translated from Spanish by Dalia Rabinovich / Andy Grundberg
      3. Extract from introductory essay to Martin Lister (ed.), The Photographic Image in Digital Culture, London and New York: Routledge, 1995, pp 15-17 / Joan Fontcuberta
      4. Transcendental Machine? A Comparison of Digital Photography and Nineteenth Comity Modes of Photographic Representation' in Leonardo, Vol. 23, #4, 1990, pp 422-3, Oxford: Pergamon Press / Martin Lister
      5. 'From Dada to Digital: Montage in the Twentieth Century' in Michael Hoffman (ed.) Metamorphoses: Photography in the Electronic Age, New York: Aperture, 1994, pp 6-7 / Diana Emery Hulick
      Contents note continued: 6. 'Phantasm Digital Imaging and the Death of Photography in Michael Hoffman (ed.) Metamorphoses: Photography in the Electronic Age, New York: Aperture, 1994, pp 48-50 / Timothy Druckrey
      7. 'Photographic Materiality in the Age of Digital Reproduction' in Elizabeth Edwards and Janice Hart (eds.) Photographs Objects Histories: On the Materiality of Images, London and New York: Routledge, 2004, pp 193-5 / Geoffrey Batchen.
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