Photography

This feminist retelling of the history of photography puts women in the picture--and, more importantly, behind the camera! In ten thematic, chronological sections, Tate Modern curator Emma Lewis explores the vital role women artists have played in shaping the ever-evolving medium of photography. Lewis has compiled work from more than 200 different women and nonbinary photographers along with short essays on 75 different artists, many informed by her interviews with the subjects. From the studio portraiture of the late nineteenth century to the photojournalism of Dorothea Lange and Lee Miller in the early twentieth--and from second-wave feminist critiques of gender roles to contemporary selfies and social media personae--this volume examines different genres, styles, and approaches to photography from the 1800s to the present. UNPARALLELED IN SCOPE: International, inclusive, and intersectional, this comprehensive volume tells the story of a versatile and innovative medium. From early-twentieth-century self-portraits responding to modernity and changing notions of womanhood, to photojournalistic images documenting the climate crisis, the photographs in this book demonstrate the varied ways that women respond to and shape the global cultural landscape. The artists profiled here include: * Sheila Pree Bright * Imogen Cunningham * Paz Errázuriz * Nan Goldin * Kati Horna * Mari Katayama * Dora Maar * Lee Miller * Tina Modotti * Zanele Muholi * Shirin Neshat * Cindy Sherman * Lieko Shiga * Lorna Simpson * Amalia Ulman * And more! INSIGHTFULLY ORGANIZED: The thematic chapters of this project showcase photography's changing role in society and art. They allow the author to explore and contextualize how this role has (or hasn't) made space for women and people of marginalized genders, and how the work done on the margins of the medium pushes the boundaries of technology and creative expression. This is not simply a collection of "women photographers"--it's a book about how and why women and nonbinary artists have used photography to respond to and shape their own realities. Perfect for: * Photographers, artists, and students, and art lovers * Anyone interested in the history of photography * Intersectional feminists * Trailblazing women--and the people who love and support them!

As inclusive, dynamic and exciting as the medium itself, this utterly original look at the history of photography integrates the landmark discoveries of recent decades to chart new pathways that encompass overlooked artists, traditions, and techniques. The real history of photography is a vast collection of inter-connected stories stretching from East Asia to West Africa, from New Zealand to Uzbekistan.   It parallels acknowledged greats with forgotten masters, and lesser-known works with regional champions. It is a complex interplay of fine art, scientific, anthropological, documentary, and amateur traditions forged by women and men alike.   Drawn from the extraordinary Solander Collection, this pioneering, alternative history of photography is based on principles of diversity and democracy, allowing famous works to be seen with fresh eyes, and giving more obscure works the platform they deserve.   Images by Robert Frank, Diane Arbus, Man Ray, Ansel Adams, and Edward Weston are seen alongside those of Helen Stuart and John Lindt, early, self- trained practitioners Lady Augusta Mostyn and Major Francis Greeley, and African studio photographers Sanlé Sory, Michel Kameni, and Malick Sidibé. It contains many rarities and "firsts" and spans photography's early decades with linchpin works by Sir John Herschel, William Henry Fox Talbot, Hippolyte Bayard, and Julia Margaret Cameron.   Contemporary in outlook, visually captivating, and with contributions from leading curators and photo historians, this book will prove essential reading for those looking for an introduction to the field, as well as informed readers looking for more complete knowledge.  

This guide to close-up and macro photography is designed to provide photographers of all abilities with the tips, hints and technical inspiration they will need to enhance their skills. A full survey of the tools of the trade - camera, lenses, films, and accessories - is followed by explanations of the essential exposure, lighting and composition techniques required to produce vibrant and successful images

The Uses of Photography examines a network of artists who were active in Southern California between the late 1960s and early 1980s and whose experiments with photography opened the medium to a profusion of new strategies and subjects. These artists introduced urgent social issues and themes of everyday life into the seemingly neutral territory of conceptual art, through photographic works that took on hybrid forms, from books and postcards to video and text-and-image installations. Tracing a crucial history of photoconceptual practice, The Uses of Photography focuses on an artistic community that formed in and around the young University of California San Diego, founded in 1960, and its visual arts department, founded in 1967. Artists such as Eleanor Antin, Allan Kaprow, Fred Lonidier, Martha Rosler, Allan Sekula, and Carrie Mae Weems employed photography and its expanded forms as a means to dismantle modernist autonomy, to contest notions of photographic truth, and to engage in political critique. The work of these artists shaped emergent accounts of postmodernism in the visual arts and their influence is felt throughout the global contemporary art world today. Contributors include David Antin, Pamela M. Lee, Judith Rodenbeck, and Benjamin J. Young. Published in association with the Museum of Contemporary Art San Diego. Exhibition dates: Museum of Contemporary Art San Diego: September 24, 2016-January 2, 2017

Capturing the world in color was one of photography's greatest aspirations from the very beginnings of the medium. When color photography became a reality with the introduction of the Autochrome in 1907, prominent photographers such as Alfred Stieglitz were overjoyed. But they quickly came to reject color photography as too aligned with human sight. It took decades for artists to come to understand the creative potential of color, and only in 1976, when John Szarkowski showed William Eggleston's photographs at the Museum of Modern Art, did the art world embrace color. By accepting color's flexibility and emotional transcendence, Szarkowski and Eggleston transformed photography, giving the medium equal artistic stature with painting, but also initiating its demise as an independent art. The catalogue of a major exhibition at the Amon Carter Museum of American Art, which holds one of the premier collections of American photography, Color tells, for the first time, the fascinating story of color's integration into American fine art photography and how its acceptance revolutionized the practice of art. Tracing the development of color photography from the first color photograph in 1851 to digital photography, John Rohrbach describes photographers' initial rejection of color, their decades-long debates over what color brings to photography, and how their gradual acceptance of color released photography from its status as a second-tier art form. He shows how this absorption of color instigated wide acceptance of a fundamentally new definition of photography, one that blends photography's documentary foundations with the creative flexibility of painting. Sylvie Pénichon offers a succinct survey of the technological advances that made color in photography a reality and have since marked its multifaceted development. These texts, illuminated by seventy-five full-page plates and more than eighty illustrations, make this book a groundbreaking contribution to photographic studies.

In The Cruel Radiance, Susie Linfield challenges the idea that photographs of political violence exploit their subjects and pander to the voyeuristic tendencies of their viewers. Instead she argues passionately that looking at such images--and learning to see the people in them--is an ethically and politically necessary act that connects us to our modern history of violence and probes the human capacity for cruelty. Grappling with critics from Walter Benjamin and Bertolt Brecht to Susan Sontag and the postmoderns--and analyzing photographs from such events as the Holocaust, China's Cultural Revolution, and recent terrorist acts--Linfield explores the complex connection between photojournalism and the rise of human rights ideals. In the book's concluding section, she examines the indispensable work of Robert Capa, James Nachtwey, and Gilles Peress and asks how photography should respond to the increasingly nihilistic trajectory of modern warfare. A bracing and unsettling book, The Cruel Radiance convincingly demonstrates that if we hope to alleviate political violence, we must first truly understand it--and to do that, we must begin to look.

Street art and graffiti are a familiar sight in all our cities. Giant murals commemorate historical events or proclaim the culture of a neighborhood, while tagged walls can function simultaneously as a claim to territory and a backdrop for an urban fashion shoot. Street Art World examines these divergent forms and functions of street art. This strikingly illustrated book explores every aspect of street art, from those who spray it into being to those who revel in it on Instagram, from its place under highway overpasses to one on the austere walls of high art museums.             What exactly is street art? Is it the same as graffiti, or do they have different histories, meanings, and practitioners? Who makes it? Who buys it? Can it be exhibited at all, or does it always have to appear unsanctioned?  Talking with artists, collectors, sellers, and buyers, author Alison Young reveals an energetic world of self-made artists who are simultaneously passionate about an authentic form of expression and ambivalent about the prospects of selling it to make a living--even a fabulously good one. Drawing on over twenty years of research, she juxtaposes the rise and fall of art markets against the vibrancy of the street and urban life, providing a rich history and new ways of contextualizing the words and images--some breathtakingly beautiful--that seem to appear overnight in cities around the world.  

The triumphal march of photography into the halls of art has proceeded unhindered since the early 1970s: no other medium has risen in the public's esteem in quite the same way. The story of its success cannot be separated from the people who have worked toward its recognition, and who continue to do so. They include the artists themselves, curators, collectors, gallery owners, dealers, publicists, and art lovers. This extraordinary compendium brings together more than 100 masterpieces from the history of photography, each presented with commentary from one of the more than 10 of those key figures in the development and reception of the medium, including, among others, John Szarkowski. Points of View covers artists from Richard Avedon to Yva, from Diane Arbus to Umbo, and from Bernd and Hilla Becher to Edward Weston, alongside more than 100 personal statements from those whose expertise and passion have made the medium a permanent fixture in the art world.

Surveying the Anthropocene collates a range of approaches to image making concerning environmental issues by some of the best artist-photographers working worldwide. The incisive input to environmental questions is gathered together at a pivotal moment in the evolving human relationship with our home planet. Photographic approaches to environmental imagery have altered fundamentally in recent decades, largely as a result of increasing socio-ecological awareness. This insightful international survey, with a strong representation from Scotland, considers the varied range of current working practices of a representative selection of artist-photographers, both renowned and emerging, whose image-making explores human-caused environmental change. It concentrates particularly on work which relates to the types of impact, on climate and the web of life, that are sufficiently significant and globally widespread to appear in the future record of the rocks as a new geological epoch - the Anthropocene. The concept of the Anthropocene has engaged the attention and imagination of a wide range of commentators from very different backgrounds and walks of life. It therefore provides an excellent context in which to discuss, in an open and cross-disciplinary way, the range of responses of artist-photographers and cultural writers to our present global situation of multiple, interconnected environmental and social crises - and the options for human ingenuity in addressing these.

This richly illustrated and highly readable book offers a history of changing trends in amateur and commercial photography from the medium's invention until the present day

Whether at UFW picket lines in California's Central Valley or capturing summertime street life in East Harlem Latinx photographers have documented fights for dignity and justice as well as the daily lives of ordinary people. Their powerful, innovative photographic art touches on family, identity, protest, borders, and other themes, including the experiences of immigration and marginalization common to many of their communities. Yet the work of these artists has largely been excluded from the documented history of photography in the United States. Through individual profiles of more than eighty photographers from the early history of the photographic medium to the present, Elizabeth Ferrer introduces readers to Latinx portraitists, photojournalists, and documentarians and their legacies.