Results by title

572 books match the query 'Photography' and 95 start with t

Sort by

TIME

Carolyn Brown

Bridwell Press, 2026

TIME: Sojourns in Stone and Light continues Carolyn Brown’s lifelong exploration of how light, memory, and architecture converge—revealing places not simply as monuments, but as living witnesses to history.

[more]

TV Snapshots

An Archive of Everyday Life

Lynn Spigel

Duke University Press, 2022

In TV Snapshots, Lynn Spigel explores snapshots of people posing in front of their television sets in the 1950s through the early 1970s. Like today’s selfies, TV snapshots were a popular photographic practice through which people visualized their lives in an increasingly mediated culture. Drawing on her collection of over 5,000 TV snapshots, Spigel shows that people did not just watch TV: women used the TV set as a backdrop for fashion and glamour poses; people dressed in drag in front of the screen; and in pinup poses, people even turned the TV setting into a space for erotic display. While the television industry promoted on-screen images of white nuclear families in suburban homes, the snapshots depict a broad range of people across racial, ethnic, and class backgrounds that do not always conform to the reigning middle-class nuclear family ideal. Showing how the television set became a central presence in the home that exceeded its mass entertainment function, Spigel highlights how TV snapshots complicate understandings of the significance of television in everyday life.

[more]

Taken by Design

Photographs from the Institute of Design, 1937-1971

Edited by David Travis and Elizabeth Siegel

University of Chicago Press, 2002

One of Chicago's great cultural achievements, the Institute of Design was among the most important schools of photography in twentieth-century America. It began as an outpost of experimental Bauhaus education and was home to an astonishing group of influential teachers and students, including Lázló Moholy-Nagy, Harry Callahan, and Aaron Siskind. To date, however, the ID's enormous contributions to the art and practice of photography have gone largely unexplored. Taken by Design is the first publication to examine thoroughly this remarkable institution and its lasting impact.

With nearly 300 illustrations, including many never-before published photographs, Taken by Design examines the changing nature of photography over this critical period in America's midcentury. It starts by documenting the experimental nature of Moholy's Bauhaus approach and photography's new and enhanced role in training the "complete designer." Next it traces the formal and abstract camera experiments under Harry Callahan and Aaron Siskind, which aimed at achieving a new kind of photographic subjectivity. Finally, it highlights the ID's focus on conscious references to the processes of the photographic medium itself. In addition to photographs by Moholy, Callahan, and Siskind, the book showcases works by Barbara Crane, Yasuhiro Ishimoto, Joseph Jachna, Kenneth Josephson, Gyorgy Kepes, Nathan Lerner, Ray K. Metzker, Richard Nickel, Arthur Siegel, Art Sinsabaugh, and many others. Major essays from experts in the field, biographies, a chronology, and reprints of critical essays are also included, making Taken by Design an essential work for anyone interested in the history of American photography.

Contributors include:
Keith Davis, Lloyd Engelbrecht, John Grimes, Nathan Lyons, Hattula Moholy-Nagy, Elizabeth Siegel, David Travis, Larry Viskochil, James N. Wood

[more]

Tavern League

Portraits of Wisconsin Bars

Carl Corey

Wisconsin Historical Society Press, 2011

In Tavern League, photographer Carl Corey documents a unique and important segment of the Wisconsin community. Our bars are unique micro-communities, offering patrons a sense of belonging. Many of these bars are the only public gathering place in the rural communities they serve. These simple taverns offer the individual the valuable opportunity for face to face conversation and camaraderie, particularly as people become more physically isolated through the accelerated use of the internet’s social networking, mobile texting, gaming, and the rapid-fire of email.

This collection of 60 pictures captures the Wisconsin tavern as it is today. Carl Corey’s view is both familiar and undeniably unique, his pictures resonant with anyone who has set foot in a Wisconsin tavern. As the Milwaukee Journal Sentinel’s Mary Louise Schumacher has written, “Carl Corey’s photographs . . . document iconic American places that are taken for granted. . . . They are comforting images, places we know, but also eerie and remote, presented with a sense of romance and nostalgia that suggests they are already past.”

[more]

Test of Faith

Signs, Serpents, Salvation

Lauren Pond

Duke University Press, 2017

Pentecostal serpent handlers, also known as Signs Followers, hold a literal interpretation of a verse in the New Testament’s Gospel of Mark which states that, among other abilities, true believers shall be able to “take up serpents.” For more than a century members of this uniquely Appalachian religious tradition have handled venomous snakes during their worship services, risking death as evidence of their unwavering faith. Despite scores of deaths from snakebite and the closure of numerous churches in recent decades, there remains a small contingent of serpent handlers devoted to keeping the practice alive.

Who are the serpent handlers? What motivates them to continue their potentially lethal practices through the generations? Documentary photographer Lauren Pond traveled to West Virginia in search of answers to these questions. There she met Pastor Randy “Mack” Wolford, one of the best-known Signs Following preachers in the region, and spent the following year documenting Mack and his family. The course of her work changed dramatically in May 2012, when Mack, then forty-four years old, suffered a fatal rattlesnake bite during a worship service she attended. Pond photographed the events that followed and has continued her relationship with Mack’s family.

Test of Faith provides a deeply nuanced, personal look at serpent handling that not only invites greater understanding of a religious practice that has long faced derision and criticism; it also serves as a meditation on the photographic process, its ethics, and its capacity to generate empathy.

Published by Duke University Press and the Center for Documentary Studies at Duke University

[more]

Texas BBQ

Photographs by Wyatt McSpadden

By Wyatt McSpadden

University of Texas Press, 2009

To Texans, barbecue is elemental. Succulent, savory, perfumed with smoke and spice, it transcends the term "comfort food." It's downright heavenly, and it's also a staff of Texas life. Like a dust storm or a downpour, barbecue is a force of Texas nature, a stalwart tie to the state's cultural and culinary history. Though the word is often shortened to "BBQ," the tradition of barbecue stands Texas-tall.

Photographer Wyatt McSpadden has spent some twenty years documenting barbecue—specifically, the authentic family-owned cafes that are small-town mainstays. Traveling tens of thousands of miles, McSpadden has crisscrossed the state to visit scores of barbecue purveyors, from fabled sites like Kreuz's in Lockhart to remote spots like the Lazy H Smokehouse in Kirbyville. Color or black-and-white, wide angle or close up, his pictures convey the tradition and charm of barbecue. They allow the viewer to experience each place through all five senses. The shots of cooking meat and spiraling smoke make taste and smell almost tangible. McSpadden also captures the shabby appeal of the joints themselves, from huge, concrete-floored dining halls to tiny, un-air-conditioned shacks. Most of all, McSpadden conveys the primal physicality of barbecue—the heat of fire, the heft of meat, the slickness of juices—and also records ubiquitous touches such as ancient scarred carving blocks, torn screen doors and peeling linoleum, and toothpicks in a recycled pepper sauce jar.

[more]

Texas Cemeteries

The Resting Places of Famous, Infamous, and Just Plain Interesting Texans

By Bill Harvey

University of Texas Press, 2003

Winner, Journalistic Achievement Award, Texas Historical Foundation, 2004

From the simplest slab of weathered stone to the most imposing mausoleum, every marker in a Texas cemetery bears witness to a life that—in ways small or large—helped shape the history and culture of the state. Telling the stories of some of these significant lives is the purpose of this book. Within its pages, you'll meet not only the heroes of the Texas Revolution, for example, but also one of the great African American cowboys of the traildriving era (Bose Ikard) and the first woman in Texas elected to statewide office (Annie Webb Blanton). Visiting cemeteries from every era and all regions of the state, Bill Harvey recounts the histories of famous, infamous, and just plain interesting Texans who lie at rest in Texas cemeteries.

The book is organized alphabetically by city for easy reference. For each city, Harvey lists one or more cemeteries, giving their location and history, if significant. At the heart of the book are his profiles of the noteworthy people buried in each cemetery. They include not only famous but also lesser-known and even unknown Texans who made important contributions to the state in the arts, sports, business, military service, politics—truly every area of communal life. For those who want to visit these resting places, Harvey also includes tips on finding cemeteries, locating gravesites, and taking good photographs. Spend time with him in the graveyards of Texas, and you'll soon appreciate what fascinating stories the silent stones can tell.

[more]

The Absolute Realist

Collected Writings of Albert Renger-Patzsch, 1923–1967

Albert Renger-Patzsch

J. Paul Getty Trust, The, 2022

This annotated anthology presents the first English translation of German photographer Albert Renger-Patzsch’s collected writings.

A towering figure in the history of photography, Albert Renger-Patzsch (1897–1966) has come to epitomize New Objectivity, the neorealist movement in modernist literature, film, and the visual arts recognized as the signature artistic style of Germany’s Weimar Republic. Today, his images are regularly exhibited and widely considered key influences on contemporary photographers. Whether they capture geometrically intricate cacti, flooded tidal landscapes, stacks of raw materials, or imposing blast furnace towers, Renger-Patzsch’s photographs embody what his peer Hugo Sieker termed “absolute realism,” an approach predicated upon the idea that photographers have one task: to exploit the camera’s unique capacity to document with uncompromising detail.

Not only a photographer, Renger-Patzsch was also an influential and lucid writer who advocated his unique brand of uncompromising realism in almost a half century’s worth of articles, essays, lectures, brochures, and unpublished manuscripts addressing photography, technology, and modernity. Drawing on his papers at the Getty Research Institute and other archives, The Absolute Realist unites in one volume this skillful photographer’s ideas about the defining visual medium of modernity.

[more]

The American Tintype

Floyd Rinhart, Marion Rinhart, and Robert W. Wagner

The Ohio State University Press, 2026

The tintype was a uniquely American form of photography that reached the height of its popularity between 1861 and 1863. Also known as the melainotype and the ferrotype, the tintype was developed in Gambier and Lancaster, Ohio.

Making a tintype involved reproducing a photographic image on very thin sheets of iron instead of glass; multiple tintypes could be produced at one time from a single sheet of iron. The tintype process was faster, simpler, cheaper, and more durable than that of the daguerreotype. The characteristics of the tintype that led its critics to dismiss it as a serious art form are precisely the ones we find so appealing today. The men, women, children, and dogs in these images look as though they lived real lives. The informality of the medium encouraged its subjects to relax, so their poses are natural. We see details of hairstyles, clothing, and surroundings that are missing in the more formal daguerreotypes of the time. These wonderful tintypes provide us with a special appreciation of nineteenth-century American life that we are unlikely to encounter elsewhere.

The American Tintype is the first comprehensive history of the subject. Most of the illustrations in this book are in the Floyd and Marion Rinhart Collection at The Ohio State University and are reproduced here for the first time. The text provides an accessible history of the tintype, including an appendix that contains information about 400 American tintypists.

[more]

The Architecture of Michelangelo

James S. Ackerman

University of Chicago Press, 1986

In this widely acclaimed work, James Ackerman considers in detail the buildings designed by Michelangelo in Florence and Rome—including the Medici Chapel, the Farnese Palace, the Basilica of St. Peter, and the Capitoline Hill. He then turns to an examination of the artist's architectural drawings, theory, and practice. As Ackerman points out, Michelangelo worked on many projects started or completed by other architects. Consequently this study provides insights into the achievements of the whole profession during the sixteenth century. The text is supplemented with 140 black-and-white illustrations and is followed by a scholarly catalog of Michelangelo's buildings that discusses chronology, authorship, and condition. For this second edition, Ackerman has made extensive revisions in the catalog to encompass new material that has been published on the subject since 1970.

[more]

The Art of Mechanical Reproduction

Technology and Aesthetics from Duchamp to the Digital

Tamara Trodd

University of Chicago Press, 2015

The Art of Mechanical Reproduction presents a striking new approach to how traditional art mediums—painting, sculpture, and drawing—changed in the twentieth century in response to photography, film, and other technologies. Countering the modernist view that the medium provides advanced art with “resistance” against technological pressures, Tamara Trodd argues that we should view art and its practices as imaginatively responding to the potential that artists glimpsed in mechanical reproduction, putting art into dialogue with the commercial cultures of its time.

The Art of Mechanical Reproduction weaves a rich history of the experimental networks in which artists as diverse as Paul Klee, Hans Bellmer, Ellsworth Kelly, Robert Smithson, Gerhard Richter, Chris Marker, and Tacita Dean have worked, and it shows for the first time how extensively technological innovations of the moment have affected their work. Original and broad-ranging, The Art of Mechanical Reproduction challenges some of the most respected and entrenched criticism of the past several decades—and allows us to think about these artists anew.

[more]

The Attractions of the Moving Image

Essays on History, Theory, and the Avant-Garde

Tom Gunning

University of Chicago Press, 2025

An essential collection of new and selected essays by influential cinema and media studies scholar Tom Gunning.

Tom Gunning is the author of multiple books and nearly two hundred essays that have defined the field of cinema and media studies. His works have transformed our understanding of early cinema and the American avant-garde and reset the terms of many central debates in film and media history and theory. His 1986 essay “The Cinema of Attractions” is among the most cited essays on film ever published. Gunning’s writings articulate a distinctive and powerful model for thinking about cinema’s history and likely future, addressing the full range of moving-image media, from film to still photography to digital media. His discussions draw on stage melodrama and magic lantern shows, as well as criminology, world’s fairs, and Spiritualism, surveying the medium as a cultural phenomenon informed by the industrial and information ages, psychiatry, urban experience, discourses on art and aesthetics, and more.

This collection brings together twenty-six essays that showcase the depth and range of Gunning’s scholarship, including four that have never before been published. Together, they solidify Gunning’s place as a scholar who has transformed the way generations of scholars, archivists, critics, and artists think about cinema.

[more]

The Bathers

Jennette Williams

Duke University Press, 2009

Jennette Williams’s stunning platinum prints of women bathers in Budapest and Istanbul take us inside spaces intimate and public, austere and sensuous, filled with water, steam, tile, stone, ethereal sunlight, and earthly flesh. Over a period of eight years, Williams, who is based in New York City, traveled to Hungary and Turkey to photograph, without sentimentality or objectification, women daring enough to stand naked before her camera. Young and old, the women of The Bathers inhabit and display their bodies with comfort and ease—floating, showering, conversing, lost in reverie.

To create the images in The Bathers, Williams drew on gestures and poses found in iconic paintings of nude women, including tableaux of bathers by Paul Cézanne and Auguste Renoir, renderings of Venus by Giorgione and Titian, Dominique Ingres’s Odalisque and Slave, and Pablo Picasso’s Les Demoiselles d’Avignon. By alluding to these images and others, Williams sought to reflect the religious and mythological associations of water with birth and rebirth, comfort and healing, purification and blessing. She also used copies of the paintings to communicate with her Hungarian- and Turkish-speaking subjects—homemakers, factory workers, saleswomen, secretaries, managers, teachers, and students. Working in steam-filled environments, Williams created quiet, dignified images that evoke not only canonical representations of female nudes but also early pictorial photography. At the same time, they raise contemporary questions about the gaze, the definition of documentary photography, and the representation and perception of beauty and femininity, particularly as they relate to the aging body. Above all else, her photos are sensuously evocative. They invite the viewer to feel the steam, hear the murmur of conversation, and reflect on the allure of the female form.

A CDS Book
Published by Duke University Press and the Center for Documentary Photography

[more]

The Beauty of a Social Problem

Photography, Autonomy, Economy

Walter Benn Michaels

University of Chicago Press, 2015

Bertolt Brecht once worried that our sympathy for the victims of a social problem can make the problem’s “beauty and attraction” invisible. In The Beauty of a Social Problem, Walter Benn Michaels explores the effort to overcome this difficulty through a study of several contemporary artist-photographers whose work speaks to questions of political economy.

Although he discusses well-known figures like Walker Evans and Jeff Wall, Michaels’s focus is on a group of younger artists, including Viktoria Binschtok, Phil Chang, Liz Deschenes, and Arthur Ou. All born after 1965, they have always lived in a world where, on the one hand, artistic ambition has been synonymous with the critique of autonomous form and intentional meaning, while, on the other, the struggle between capital and labor has essentially been won by capital. Contending that the aesthetic and political conditions are connected, Michaels argues that these artists’ new commitment to form and meaning is a way for them to depict the conditions that have taken US economic inequality from its lowest level, in 1968, to its highest level today. As Michaels demonstrates, these works of art, unimaginable without the postmodern critique of autonomy and intentionality, end up departing and dissenting from that critique in continually interesting and innovative ways.

[more]

The Blind

Edited by Alfredo Cramerotti

Intellect Books, 2015

Images of animals are all around us. Yet the visibility offered by wildlife photography can't help but contribute to an image of the animal as fundamentally separate from the human. But how can we get closer to animals without making them aware of us or changing their relationship to their environment?

The Blind might be the answer. Developed for naturalists by the Institute of Critical Zoologists, the Blind is a camouflage cloak that works on the principle that an object vanishes from sight if light rays striking it are not reflected, but are instead forced to flow around as if it were not there. In fifty stunning color photographs, this volumeshows the cloak tested in nature reserves, grasslands, and urban environments. By taking the human out of the picture, The Blind offers an opportunity to explore how we see animals in photography.

[more]

The Brazilian Photographs of Genevieve Naylor, 1940–1942

Robert M. Levine

Duke University Press, 1998

In the early 1940s as the conflict between the Axis and the Allies spread worldwide, the U.S. State Department turned its attention to Axis influence in Latin America. As head of the Office of Inter-American Affairs, Nelson Rockefeller was charged with cultivating the region’s support for the Allies while portraying Brazil and its neighbors as dependable wartime partners. Genevieve Naylor, a photojournalist previously employed by the Associated Press and the WPA, was sent to Brazil in 1940 by Rockefeller’s agency to provide photographs that would support its need for propaganda. Often balking at her mundane assignments, an independent-minded Naylor produced something far different and far more rich—a stunning collection of over a thousand photographs that document a rarely seen period in Brazilian history. Accompanied by analysis from Robert M. Levine, this selection of Naylor’s photographs offers a unique view of everyday life during one of modern Brazil’s least-examined decades.
Working under the constraints of the Vargas dictatorship, the instructions of her employers, and a chronic shortage of film and photographic equipment, Naylor took advantage of the freedom granted her as an employee of the U.S. government. Traveling beyond the fashionable neighborhoods of Rio de Janeiro, she conveys in her work the excitement of an outside observer for whom all is fresh and new—along with a sensibility schooled in depression-era documentary photography of Dorothea Lange and Walker Evans, as well as the work of Cartier-Bresson and filmmaker Serge Eisenstein. Her subjects include the very rich and the very poor, black Carnival dancers, fishermen, rural peasants from the interior, workers crammed into trolleys—ordinary Brazilians in their own setting—rather than simply Brazilian symbols of progress as required by the dictatorship or a population viewed as exotic Latins for the consumption of North American travelers.
With Levine’s text providing details of Naylor’s life, perspectives on her photographs as social documents, and background on Brazil’s wartime relationship with the United States, this volume, illustrated with more than one hundred of Naylor’s Brazilian photographs will interest scholars of Brazilian culture and history, photojournalists and students of photography, and all readers seeking a broader perspective on Latin American culture during World War II.

Genevieve Naylor began her career as a photojournalist with Time, Fortune, and the Associated Press before being sent to Brazil. In 1943, upon her return, she became only the second woman to be the subject of a one-woman show at New York’s Museum of Modern Art. She served as Eleanor Roosevelt’s personal photographer and, in the 1950s and 1960s became well known for her work in Harper’s Bazaar, primarily as a fashion photographer and portraitist. She died in 1989.

[more]

The Burden of Representation

Essays on Photographies and Histories

John Tagg

University of Minnesota Press, 2021

A powerhouse in photographic theory—updated and with a new essay

Every day, photographic images are relied upon as documents, evidence, and records in courtrooms, hospitals, and police work. But how did such usages come to be established, and when? What agencies and institutions had the power to give them this status? And what are the consequences of photographic representation? Drawing on semiotics, cultural theory, and the work of Foucault and Althusser, John Tagg rejects the idea of photography as a record of reality and traces a history that has profound implications not only for the theory of photography but also for understanding the role of new means of representation in modern social regulation. Now with a new essay situating this volume in the changed horizon of cultural politics, The Burden of Representation argues for a rigorous analysis of the meaning, status, and effects of photographs, rooted in a historical grasp of the growth of the modern state.

[more]

The Camera Does the Rest

How Polaroid Changed Photography

Peter Buse

University of Chicago Press, 2016

In a world where nearly everyone has a cellphone camera capable of zapping countless instant photos, it can be a challenge to remember just how special and transformative Polaroid photography was in its day. And yet, there’s still something magical for those of us who recall waiting for a Polaroid picture to develop. Writing in the context of two Polaroid Corporation bankruptcies, not to mention the obsolescence of its film, Peter Buse argues that Polaroid was, and is, distinguished by its process—by the fact that, as the New York Times put it in 1947, “the camera does the rest.”

Polaroid was often dismissed as a toy, but Buse takes it seriously, showing how it encouraged photographic play as well as new forms of artistic practice. Drawing on unprecedented access to the archives of the Polaroid Corporation, Buse reveals Polaroid as photography at its most intimate, where the photographer, photograph, and subject sit in close proximity in both time and space—making Polaroid not only the perfect party camera but also the tool for frankly salacious pictures taking.

Along the way, Buse tells the story of the Polaroid Corporation and its ultimately doomed hard-copy wager against the rising tide of digital imaging technology. He explores the continuities and the differences between Polaroid and digital, reflecting on what Polaroid can tell us about how we snap photos today. Richly illustrated, The Camera Does the Rest will delight historians, art critics, analog fanatics, photographers, and all those who miss the thrill of waiting to see what develops.

[more]

The Camera as Historian

Amateur Photographers and Historical Imagination, 1885-1918

Elizabeth Edwards

Duke University Press, 2012

In the late nineteenth century and early twentieth, hundreds of amateur photographers took part in the photographic survey movement in England. They sought to record the material remains of the English past so that it might be preserved for future generations. In The Camera as Historian, the groundbreaking historical and visual anthropologist Elizabeth Edwards works with an archive of nearly 55,000 photographs taken by 1,000 photographers, mostly unknown until now. She approaches the survey movement and its social and material practices ethnographically. Considering how the amateur photographers understood the value of their project, Edwards links the surveys to concepts of leisure, understandings of the local and the national, and the rise of popular photography. Her examination of how the photographers negotiated between scientific objectivity and aesthetic responses to the past leads her to argue that the survey movement was as concerned with the conditions of its own modernity and the creation of an archive for an anticipated future as it was nostalgic about the imagined past. Including more than 120 vibrant images, The Camera as Historian offers new perspectives on the forces that shaped Victorian and Edwardian Britain, as well as on contemporary debates about cultural identity, nationality, empire, material practices, and art.

[more]

The Chatter of the Visible

Montage and Narrative in Weimar Germany

Patrizia C. McBride

University of Michigan Press, 2016

The Chatter of the Visible examines the paradoxical narrative features of the photomontage aesthetics of artists associated with Dada, Constructivism, and the New Objectivity. While montage strategies have commonly been associated with the purposeful interruption of and challenge to narrative consistency and continuity, McBride offers an historicized reappraisal of 1920s and 1930s German photomontage work to show that its peculiar mimicry was less a rejection of narrative and more an extension or permutation of it—a means for thinking in narrative textures exceeding constraints imposed by “flat” print media (especially the novel and other literary genres).

McBride’s contribution to the conversation around Weimar-era montage is in her situation of the form of the work as a discursive practice in its own right, which affords humans a new way to negotiate temporality, as a particular mode of thinking that productively relates the particular to the universal, or as a culturally specific form of cognition.

[more]

The Color of Loss

An Intimate Portrait of New Orleans after Katrina

Photographs and introduction by Dan Burkholder

University of Texas Press, 2008

The devastation of New Orleans after Hurricane Katrina has been imprinted in our collective visual memory by thousands of images in the media and books of dramatic photographs by Robert Polidori, Larry Towell, Chris Jordan, Debbie Fleming Caffrey, and others. New Orleanians want the world to see and respond to the destruction of their city and the suffering of its people—and yet so many images of so much destruction threaten a visual and emotional overload that would tempt us to avert our eyes and become numb.

In The Color of Loss, Dan Burkholder presents a powerful new way of seeing the ravaged homes, churches, schools, and businesses of New Orleans. Using an innovative digital photographic technology called high dynamic range (HDR) imaging, in which multiple exposures are artistically blended to bring out details in the shadows and highlights that would be hidden in conventional photographs, he creates images that are almost like paintings in their richness of color and profusion of detail. Far more intense and poetic than purely documentary photographs, Burkholder's images lure viewers to linger over the artifacts of people's lives—a child's red wagon abandoned in a mud-caked room, a molding picture of Jesus—to fully understand the havoc thrust upon the people of New Orleans.

In the deserted, sinisterly beautiful rooms of The Color of Loss, we see how much of the splendor and texture of New Orleans washed away in the flood. This is the hidden truth of Katrina that Dan Burkholder has revealed.

[more]

The Cruel Radiance

Photography and Political Violence

Susie Linfield

University of Chicago Press, 2010

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.

[more]

The Culture of Photography in Public Space

Edited by Anne Marsh, Melissa Miles, and Daniel Palmer

Intellect Books, 2015

From privacy concerns regarding Google Street View to surveillance photography’s association with terrorism and sexual predators, photography as an art has become complex terrain upon which anxieties about public space have been played out. Yet the photographic threat is not limited to the image alone. A range of social, technological, and political issues converge in these rising anxieties and affect the practice, circulation, and consumption of contemporary public photography today. The Culture of Photography in Public Space collects essays and photographs that offer a new response to these restrictions, the events, and the anxieties that give rise to them.

[more]

The De-Definition of Art

Harold Rosenberg

University of Chicago Press, 1983

"Like the great German critic Walter Benjamin, Rosenberg is a master of dialectics whose sense of art is continuous with his sense of society, and (also like Benjamin) bears no taint of compromised, out-of-work radicalism. Instead, his radicalism is very much at work, enabling him to spot and skewer fallacies, false logic and the camouflaged nudity that is a large part of the art emperor's new wardrobe. [The De-definition of Art] detects with great sensitivity the forces that are deflecting and pressuring art in the direction of esthetic and moral nullity."—Jack Kroll, Newsweek

[more]

The Disciplinary Frame

Photographic Truths and the Capture of Meaning

John Tagg

University of Minnesota Press, 2009

Photography can seem to capture reality and the eye like no other medium, commanding belief and wielding the power of proof. In some cases, a photograph itself is attributed the force of the real. How can a piece of chemically discolored paper have such potency? How does the meaning of a photograph become fixed? In The Disciplinary Frame, John Tagg claims that, to answer these questions, we must look at the ways in which all that frames photography—the discourse that surrounds it and the institutions that circulate it— determines what counts as truth.

The meaning and power of photographs, Tagg asserts, are discursive effects of the regimens that produce them as official record, documentary image, historical evidence, or art. Teasing out the historical processes involved, he examines a series of revealing case studies from nineteenth-century European and American photographs to Depression-era works by Walker Evans, Dorothea Lange, and Margaret Bourke-White to the conceptualist photography of John Baldessari.

Central to this transformative work are questions of cultural strategy, the growth of the state, and broad issues of power and representation: how the discipline of the frame holds both photographic image and viewer in place, without erasing the possibility for evading, and even resisting, capture. Photographs, Tagg ultimately finds, are at once too big and too small for the frames in which they are enclosed—always saying more than is wanted and less than is desired.

[more]

The Division of the World

On Archives, Empires and the Vanity of Borders

Martin Zimmerman

Haus Publishing, 2021

A photographer and a historian explore a vast archive of Spanish colonial history.

At a time when Western nations are being urged to confront their colonial past, this book examines a major archive, revealing the scale of the Spanish colonial enterprise in South and Central America.

Established in 1785, the Archivo General de Indias in Seville holds roughly three hundred years of Spanish colonial history in the Americas. It houses 8,000 charts and around ninety million documents—among them Christopher Columbus’s logbook and the famous Treaty of Tordesillas which, mediated by the Pope and signed in 1494, entitled the Spanish and Portuguese kings to divide the world between them. With this treaty as a starting point, the historian Martin Zimmermann journeys into the age of discovery and recounts stories of dangerous passages, encounters with the unknown, colonial brutality, and the power of cartographers, illustrating the insatiable lust of colonialists to conquer, exploit, and own the world. Ursula Schulz-Dornburg’s photographs show the archive before its redevelopment in 2002, offering a unique view into one of Europe’s most significant archives.

[more]

The Drake Relays

America's Athletic Classic

David Peterson

University of Iowa Press, 2014

The Drake Relays are one of the iconic events of track and field in the United States. World and Olympic champions test their speed and stamina on the famed Blue Oval in Des Moines, Iowa, every April, and by spring 2013 they had set fourteen world records and fifty-one American records. But unlike most other top meets, this one also features college athletes from all over the country and high school athletes from across Iowa, giving them the experience of a lifetime—competing on the same track with the elite in their sport. This mix brings many enthusiastic spectators to the stadium and makes for an unusually close bond between fans and athletes—it’s as if everyone’s family is there cheering.

Pulitzer Prize–winning photographer David Peterson has been covering the Drake Relays for nearly forty years, but his love affair with the meet started earlier, when he ran on three winning relay teams there for Kansas State University. Now, drawing upon an unmatched personal archive, he offers the pictures of a lifetime spent on the Blue Oval. He captures on camera athletes of all levels in triumph and defeat, in mid-stride or leap, embracing their fans, their moms and dads, and their kids. In addition to the stars of the past, such as Carl Lewis, Suzy Favor Hamilton, and Herschel Walker, and those of the ’00s, like Lolo Jones and Jeremy Wariner, we see teenagers who may be the stars of the future, as well as the many athletes who will never be famous but nonetheless show themselves—and their sport—at their best.

A beautiful celebration of the Drake Relays and the diverse sports that make up “track and field,” this book will evoke memories and inspire runners, throwers, and jumpers everywhere.

[more]

The Echo of Things

The Lives of Photographs in the Solomon Islands

Christopher Wright

Duke University Press, 2013

The Echo of Things is a compelling ethnographic study of what photography means to the people of Roviana Lagoon in the western Solomon Islands. Christopher Wright examines the contemporary uses of photography and expectations of the medium in Roviana, as well as people's reactions to photographs made by colonial powers in the late nineteenth and early twentieth centuries. For Roviana people, photographs are unique objects; they are not reproducible, as they are in Euro-American understandings of the medium. Their status as singular objects contributes to their ability to channel ancestral power, and that ability is a key to understanding the links between photography, memory, and history in Roviana. Filled with the voices of Roviana people, The Echo of Things is both a nuanced study of the lives of photographs in a particular cultural setting and a provocative inquiry into our own understandings of photography.

[more]

The Empathic Lens

Art, Animism, and Ecology in Contemporary Southeast Asia

Brianne Cohen

University of Minnesota Press, 2026

How lens-based art from Southeast Asia offers alternative visions for ecological sustainability

A new paradigm of ecologically minded artistic practices is taking shape in Southeast Asia—one that at once tracks ecological destruction and works specifically to cultivate deeper feelings of empathy toward the environment. Examining a range of photography and video work, The Empathic Lens explores how these lens-based projects respond to increasingly urgent concerns related to climate disaster and capitalist acceleration.

In this analysis of work produced across Cambodia, Vietnam, and Singapore, Brianne Cohen highlights artists for whom rampant urban development, resource extraction, and environmental toxicity are close at hand. As each artist takes their lens to these realities, Cohen shows, they draw on Indigenous knowledge and local traditions that have long recognized the kinship of humans and nonhumans. Engaging often-censored discourses of Indigenous land relations and environmental justice in a region with a long history of colonial and neocolonial development, Cohen traces genealogies of empathy and animism to demonstrate how these works develop sustainable visions for the future coexistence of planetary life.

The first critical account of marginalized artworks that depict the centrality of the more-than-human in Southeast Asian Indigenous worldviews, The Empathic Lens makes a powerful case for the relevance of Southeast Asian lens-based art in contemporary media practice and the art of the Anthropocene.

Retail e-book files for this title are screen-reader friendly with images accompanied by short alt text and/or extended descriptions.

[more]

The Great Hummingbird Chase

John P. Schaefer and Ken Lamberton

University of Arizona Press, 2027

Southern Arizona is a world-renown hummingbird destination. The Great Hummingbird Chase chronicles John P. Schaefer and Ken Lamberton’s passionate quest to photograph all fifteen of Arizona’s hummingbird species.

[more]

The Homoerotic Photography of Carl Van Vechten

Public Face, Private Thoughts

James Smalls

Temple University Press, 2006

Carl Van Vechten (1880-1964) was perhaps the most notorious white patron of the arts of black America, particularly during the Harlem Renaissance. In 1932, he gave up a career as a theater critic and a novelist of light fiction to become a full-time amateur photographer. His photographs of the era's celebrated African American cultural figures are well-known, but until recently his private, homoerotic interracial photographs were sealed in an archive. Author James Smalls considers how these images relate to Van Vechten's public persona and private desires. He discusses the interracial photographs in the context of white privilege and exotic tourism, primitivism's relation to modernism, camp sensibility and theatricality, and the vibrancy of underground gay visual culture during periods of political oppression. He also considers contemporary viewers' conflicting responses to the eroticized black male body in Van Vechten's and later twentieth-century photography. This original and provocative book embraces transracial voyeuristic pleasure while acknowledging the negative political implications of that pleasure. Amply illustrated with 60 pioneering duotones, The Homoerotic Photography of Carl Van Vechten celebrates the sensual nude male form with both candor and reverence, offering a rare glimpse into the private domain of the master photographer and his handsome subjects.

[more]

The Image in Dispute

Art and Cinema in the Age of Photography

Edited by Dudley Andrew

University of Texas Press, 1997

Photography, cinema, and video have irrevocably changed the ways in which we view and interpret images. Indeed, the mechanical reproduction of images was a central preoccupation of twentieth-century philosopher Walter Benjamin, who recognized that film would become a vehicle not only for the entertainment of the masses but also for consumerism and even communism and fascism.

In this volume, experts in film studies and art history take up the debate, begun by Benjamin, about the power and scope of the image in a secular age. Part I aims to bring Benjamin's concerns to life in essays that evoke specific aspects and moments of the visual culture he would have known. Part II focuses on precise instances of friction within the traditional arts brought on by this century's changes in the value and mission of images. Part III goes straight to the image technologies themselves—photography, cinema, and video—to isolate distinctive features of the visual cultures they help constitute.

As we advance into the postmodern era, in which images play an ever more central role in conveying perceptions and information, this anthology provides a crucial context for understanding the apparently irreversible shift from words to images that characterized the modernist period. It will be important reading for everyone in cultural studies, film and media studies, and art history.

[more]

The Iowa State Fair

Kurt Ullrich

University of Iowa Press, 2014

Every year in early August, a breeze borne by silent messengers from another time blows through Iowa. It carries a whiff of something wonderful, something far off and a bit unclear, yet oddly familiar. It's a reminder that an extraordinary annual event is about to take place, just as it has for more than 150 years: the Iowa State Fair.

In 2013, Kurt Ullrich set out to chronicle the magic of the Iowa State Fair in words and photographs. Join him as August days and nights blow warm and easy over the fairgrounds, brushing lightly against fellow travelers on this earth, both human and not. He captures precious moments of extreme joy and unbridled delight in these beautiful black-and-white images, celebrating the brash rural energy of the fair, from Big Wheel races to people-watching goats, fair queen contestants to arm wrestlers, Percherons to ponies. Prize pigs, prize sheep, prize apples, and the famous butter cow all have their moment in the limelight. Iowa’s very best ear of corn and old friends reminiscing outside their RVs draw the photographer’s fond eye, as do brightly lit beer stands and the brilliant arc of the Ferris wheel against the night sky.

If you always go to the Iowa State Fair, this book is for you. If you’ve never been, it will show you what you’re missing—and you’ll understand why it’s well past time you dropped by.

[more]

The Italian Way

Food and Social Life

Douglas Harper and Patrizia Faccioli

University of Chicago Press, 2009

Outside of Italy, the country’s culture and its food appear to be essentially synonymous. And indeed, as The Italian Way makes clear, preparing, cooking, and eating food play a central role in the daily activities of Italians from all walks of life. In this beautifully illustrated book, Douglas Harper and Patrizia Faccioli present a fascinating and colorful look at the Italian table.

The Italian Way focuses on two dozen families in the city of Bologna, elegantly weaving together Harper’s outsider perspective with Faccioli’s intimate knowledge of the local customs. The authors interview and observe these families as they go shopping for ingredients, cook together, and argue over who has to wash the dishes. Throughout, the authors elucidate the guiding principle of the Italian table—a delicate balance between the structure of tradition and the joy of improvisation. With its bite-sized history of food in Italy, including the five-hundred-year-old story of the country’s cookbooks, and Harper’s mouth-watering photographs, The Italian Way is a rich repast—insightful, informative, and inviting.

[more]

The Jazz Loft Project

Photographs and Tapes of W. Eugene Smith from 821 Sixth Avenue, 1957–1965

W. Eugene Smith and Sam Stephenson

University of Chicago Press, 2023

Reissue of an acclaimed collection of images from photographer W. Eugene Smith’s time in a New York City loft among jazz musicians.

In 1957, Eugene Smith walked away from his longtime job at Life and the home he shared with his wife and four children to move into a dilapidated, five-story loft building at 821 Sixth Avenue in New York City’s wholesale flower district. The loft was the late-night haunt of musicians, including some of the biggest names in jazz—Charles Mingus, Zoot Sims, Bill Evans, and Thelonious Monk among them. Here, from 1957 to 1965, he made nearly 40,000 photographs and approximately 4,000 hours of recordings of musicians. Smith found solace in the chaotic, somnambulistic world of the loft and its artists, and he turned his documentary impulses away from work on his major Pittsburg photo essay and toward his new surroundings.

Smith’s Jazz Loft Project has been legendary in the worlds of art, photography, and music for more than forty years, but until the publication of this book, no one had seen his extraordinary photographs or read any of the firsthand accounts of those who were there and lived to tell the tales.

[more]

The Last River

Life Along Arkansas's Lower White

Turner Browne

University of Arkansas Press, 1993

With 68 compellingly beautiful photographs, Turner Browne documents a fast-disappearing way of life for the people who live on the lower White River and issues a plea to save the river from irreversible damage by the Army Corps of Engineers. By demonstrating that the endless dredging and flood control projects of the ever-active Corps are destroying the river's natural beauty and the livelihoods of those who make the river their only home - on houseboats and along its banks - he argues graphically and heroically for the preservation of a unique culture and of a great river. The black-and-white photographs, taken between Batesville, Arkansas, and the confluence with the Mississippi River, tell a story of loss, nostalgia, and fortitude as they portray the river's remarkable character and the exceptional lifestyles of acorn gatherers, sturgeon fishers, mussel divers, and others who extract a meager but satisfying existence from the river's resources. The damage the Corps of Engineers has wrought, including cleared forests, piles of debris, and "containment structures," certainly tolls a death knell for much of this natural waterway. The Last River is a journey, a journey probably never to be taken again.

[more]

The Mass Production of Memory

Travel and Personal Archiving in the Age of the Kodak

Tammy S. Gordon

University of Massachusetts Press, 2020

In 1888, the Eastman Dry Plate and Film Company offered the first portable camera that allowed users to conveniently take photos, using leisure travel as a primary marketing feature to promote it. The combination of portability, ease of use, and mass advertising fed into a national trend of popular photography that drew on Americans' increasing mobility and leisure time. The Kodak Company and the first generation of tourist photographers established new standards for personal archiving that amplified the individual's role in authoring the national narrative. But not everyone had equal access to travel and tourism, and many members of the African American, Native American, and gay and lesbian communities used the camera to counter the racism, homophobia, and classism that shaped public spaces.

In this groundbreaking history, Tammy S. Gordon tells the story of the camera's emerging centrality in leisure travel across the late nineteenth and early twentieth centuries and its role in “the mass production of memory,” a process in which users crafted a visual archive attesting to their experiences, values, and circumstances, setting the stage for the customizable visual culture of the digital age.

[more]

The Matter of Black Living

The Aesthetic Experiment of Racial Data, 1880–1930

Autumn Womack

University of Chicago Press, 2022

Examining how turn-of-the-century Black cultural producers’ experiments with new technologies of racial data produced experimental aesthetics.

As the nineteenth century came to a close and questions concerning the future of African American life reached a fever pitch, many social scientists and reformers approached post-emancipation Black life as an empirical problem that could be systematically solved with the help of new technologies like the social survey, photography, and film. What ensued was nothing other than a “racial data revolution,” one which rendered African American life an inanimate object of inquiry in the name of social order and racial regulation. At the very same time, African American cultural producers and intellectuals such as W. E. B. Du Bois, Kelly Miller, Sutton Griggs, and Zora Neale Hurston staged their own kind of revolution, un-disciplining racial data in ways that captured the dynamism of Black social life.

The Matter of Black Living excavates the dynamic interplay between racial data and Black aesthetic production that shaped late nineteenth-century social, cultural, and literary atmosphere. Through assembling previously overlooked archives and seemingly familiar texts, Womack shows how these artists and writers recalibrated the relationship between data and Black life. The result is a fresh and nuanced take on the history of documenting Blackness. The Matter of Black Living charts a new genealogy from which we can rethink the political and aesthetic work of racial data, a task that has never been more urgent.

[more]

The New Jersey Churchscape

Encountering Eighteenth- and Nineteenth-Century Churches

Frank L. Greenagel

Rutgers University Press, 2001

Although best known as the Garden State, New Jersey could also be called the Church State. The state boasts thousands of houses of worship, with more than one thousand still standing that were built in the eighteenth and nineteenth centuries. Frank L. Greenagel has photographed more than six hundred. He has selected two hundred of these historic landmarks for an examination of why they are sited where they are and why they look the way they do.

Greenagel has sought out and included images of not only mainstream Christian churches, but also Jewish synagogues as well as the places of worship of religious groups such as the Moravians, the Church of the Brethren, and the Seventh Day Baptists. The photographs are arranged chronologically within sections on three major early settlement regions of the state ¾ the Hudson River, the Delaware River, and the Raritan Valley. For each building, Greenagel details the date of construction, the cultural, historic, and religious influences that shaped it, the architectural details that distinguish it, and what purpose it currently serves.

[more]

The New Woman International

Representations in Photography and Film from the 1870s through the 1960s

Elizabeth Otto and Vanessa Rocco, editors

University of Michigan Press, 2012

"In The New Woman International, editors Elizabeth Otto and Vanessa Rocco have gathered a group of intellectually stimulating and provocative essays that present the emergence, both tentative and triumphant, of this new global icon and her increasingly multicultural image. Written largely by historians of art and film, these essays emphasize visual analysis of the photographic and film media that carried the new woman's influential message."
---Norma Broude, American University

"The New Woman International focuses on the New Woman not simply as an image to be analyzed but also as a producer of images and text. This groundbreaking anthology represents a theoretically sophisticated set of essays that thoroughly examine the phenomenon of the New Woman in previously unexplored ways."
---Sarah E. Chinn, Hunter College, CUNY

Images of flappers, garçonnes, Modern Girls, neue Frauen, and trampky---all embodiments of the dashing New Woman---symbolized an expanded public role for women from the suffragist era through the dawn of 1960s feminism. Chronicling nearly a century of global challenges to gender norms, The New Woman International: Representations in Photography and Film from the 1870s through the 1960s is the first book to examine modern femininity's ongoing relationship with the nineteenth and twentieth centuries' most influential new media: photography and film. This volume examines the ways in which novel ideas about women's roles in society and politics were disseminated through these technological media, and it probes the significance of radical changes in female fashion, appearance, and sexual identity. Additionally, these original essays explore the manner in which New Women artists used photography and film to respond creatively to gendered stereotypes and to reconceive of ways of being a woman in a rapidly modernizing world.

The New Woman International brings together different generations of scholars and curators who are experts in gender, photography, literature, mass media, and film to analyze the New Woman from her inception in the later nineteenth century through her full development in the interwar period, and the expansion of her forms in subsequent decades. Arranged both chronologically and thematically, these essays show how controversial female ideals figured in discourses including those on gender norms, race, technology, sexuality, female agency, science, media representation, modernism, commercial culture, internationalism, colonialism, and transnational modernity. In exploring these topics through images that range from montages to newspapers' halftone prints to film stills, this book investigates the terms of gendered representation as a process in which women were as much agents as allegories. Inaugurating a new chapter in the scholarship of representation and New Womanhood and spanning North America, Western and Eastern Europe, Asia, and the colonial contexts of Africa and the Pacific, this volume reveals the ways in which a feminine ideal circled the globe to be translated into numerous visual languages.

With a foreword from the eminent feminist art historian Linda Nochlin, this collection includes contributions by Jan Bardsley, Matthew Biro, Gianna Carotenuto, Melody Davis, Kristine Harris, Karla Huebner, Kristen Lubben, Maria Makela, Elizabeth Otto, Martha H. Patterson, Vanessa Rocco, Clare I. Rogan, Despina Stratigakos, Brett M. Van Hoesen, Kathleen M. Vernon, and Lisa Jaye Young.

DIGITALCULTUREBOOKS: a collaborative imprint of the University of Michigan Press and the University of Michigan Library

[more]

The Oldest Living Things in the World

Rachel Sussman

University of Chicago Press, 2014

A breathtaking coffee table book depicting the amazing variety of ancient living beings around the world

The Oldest Living Things in the World is an epic journey through time and space. Over the past decade, artist Rachel Sussman has researched, worked with biologists, and traveled the world to photograph continuously living organisms that are 2,000 years old and older. Spanning from Antarctica to Greenland, the Mojave Desert to the Australian Outback, the result is a stunning and unique visual collection of ancient organisms unlike anything that has been created in the arts or sciences before, insightfully and accessibly narrated by Sussman along the way.

Her work is both timeless and timely, and spans disciplines, continents, and millennia. It is underscored by an innate environmentalism and driven by Sussman’s relentless curiosity. She begins at “year zero,” and looks back from there, photographing the past in the present. These ancient individuals live on every continent and range from Greenlandic lichens that grow only one centimeter a century, to unique desert shrubs in Africa and South America, a predatory fungus in Oregon, Caribbean brain coral, to an 80,000-year-old colony of aspen in Utah. Sussman journeyed to Antarctica to photograph 5,500-year-old moss; Australia for stromatolites, primeval organisms tied to the oxygenation of the planet and the beginnings of life on Earth; and to Tasmania to capture a 43,600-year-old self-propagating shrub that’s the last individual of its kind. Her portraits reveal the living history of our planet—and what we stand to lose in the future. These ancient survivors have weathered millennia in some of the world’s most extreme environments, yet climate change and human encroachment have put many of them in danger. Two of her subjects have already met with untimely deaths by human hands.

Alongside the photographs, Sussman relays fascinating – and sometimes harrowing – tales of her global adventures tracking down her subjects and shares insights from the scientists who research them. The oldest living things in the world are a record and celebration of the past, a call to action in the present, and a barometer of our future.

[more]

The Omega Workshops

Judith Collins

University of Chicago Press, 1984

[more]

The Other Half

Forty Men Reveal Life After Fifty

Ellen Warner

Brandeis University Press, 2026

An insightful and intimate look at aging and masculinity that includes interviews and portraits of men from around the world.

What do men really think? From a taxi driver to a prince, a fishmonger to a professional boxer, The Other Half reveals the inner thoughts of men over fifty from different nationalities and different walks of life in their own words, illuminated by their portraits. Author and photojournalist Ellen Warner traveled the world to find out what men really think about love, work, and aging, speaking with well-known figures like film director James Ivory and journalist Bill Keller, as well as a philosopher, a chess grandmaster, a hair stylist, a financier, and more. Interviewing men from Colombia, Greece, Saudi Arabia, Sierra Leone, Sweden, and everywhere in between, Warner assembles a moving portrait of their reflections, insights, challenges, and hard-won triumphs.

A companion to The Second Half: Forty Women Reveal Life After Fifty, Warner’s latest book shares the diverse, vibrant experiences of men over fifty.

[more]

The Other Side of Empathy

Jade E. Davis

Duke University Press, 2023

In The Other Side of Empathy, Jade E. Davis contests the value of empathy as an affective or critical tool. Whether focusing on technology, colonialism, or racism, she shows how empathy can obscure relationships of dominance, control, submission, and victimization, arguing that these histories taint the whole concept of empathy. Drawing on digital archives of photographs, memoirs, newspapers, interviews, and advertisements regarding nineteenth-century ethnographic museums and human zoos, Davis shows how empathetic responses erase culpabilities from those institutions that commodify difference. She also contends that empathy’s mediation through digital technology cannot lead to more ethical actions, as technology only connects representations of people rather than the people themselves. In empathy’s place, Davis proposes mutual recognition as a way to see and experience others beyond colonial modes of empathy. Davis illustrates that moving beyond empathy allows for a more nuanced understanding of the colonial past and its ongoing impact while providing for a more meaningful affective engagement with the world.

[more]

The Past's Threshold

Essays on Photography

Siegfried Kracauer

Diaphanes, 2014

Siegfried Kracauer was a leading intellectual figure of the Weimar Republic and one of the foremost representatives of critical theory. Best known for a wealth of writings on sociology and film theory, his influence is felt in the work of many of the period’s preeminent thinkers, including his friends, the critic Walter Benjamin, and Theodor W. Adorno, who once claimed he owed more to Kracauer than any other contemporary.

This volume brings together for the first time all of Kracauer’s essays on photography that he wrote between 1927 and 1933 as a journalist for the Frankfurter Zeitung, as well as an essay that appeared in the Magazine of Art after his exile in America, where he would spend the last twenty-five years of his life. The texts show Kracauer as a pioneering thinker of the photographic medium in addition to the important historian, and theorist, of film that he is acknowledged to have been. His writings here build a cohesive theory on the affinities between photography, memory and history.

With a foreword by Philippe Despoix offering insights into Kracauer’s theories and the historical context, and a Curriculum vitae in pictures, photographs from the Kracauer estate annotated by Maria Zinfert.

[more]

The Photographic Fix

Memory, Ideology, and the First World War in the Weimar Republic

Justin Court

University of Michigan Press, 2026

The Photographic Fix explores how photographs from World War I were used in personal photo albums and mass-market picture books to determine the meaning and legacy of the postwar Weimar Republic. Due to their publication success and wide reception, picture books should be considered no small part of this broad struggle of ideas to cement the war’s legacy in the Weimar era. Drawing from a large archive of photographs created during the war by amateur soldier-photographers and professional reporters alike, Justin Court explores how visual depictions of the war were used to construct and distort memory in the highly contested realm of war commemoration in the Weimar. These books of photography reveal an effort to shape how the war was visually remembered in order to influence public opinion on myriad matters following in the war’s wake, including notions of German guilt and responsibility, the legitimacy of the Republic, and the political future of the German nation. By utilizing relatively neglected sources, The Photographic Fix expands scholarship on German war photography to illuminate how images from the war and Weimar period reflected the public’s understanding of the medium at the time.

[more]

The Photographic Legacy of Frances Benjamin Johnston

Maria Elizabeth Ausherman

University of Alabama Press, 2022

An illustrated account of the life and work of the pioneering photographer

The Photographic Legacy of Frances Benjamin Johnston (1864–1952) draws on original papers and photographs from the Library of Congress to document the extraordinary life and nearly seventy-year career of this pioneering photographer. Maria Elizabeth Ausherman illuminates the early origins of Johnston’s style and vision, and her attempts to change society through her art. One of the first women to work in an emerging field dominated by men, Johnston achieved acclaim as an accomplished photographer and photojournalist.

As the official White House photographer for five administrations, she was instrumental in defining the medium and inspiring women to train in and appreciate photography. But it is her monumental nine-state survey of southern American architecture that stands as her most significant contribution to the history and development of photography both as art and as documentary. Through her photography, Johnston showed reverence for the beautiful historic buildings she appreciated and also helped shape architectural and photographic preservation in the United States.

[more]