The Contest of meaning : critical histories of photography
著者
書誌事項
The Contest of meaning : critical histories of photography
MIT Press, c1993
- pbk
並立書誌 全2件
大学図書館所蔵 全6件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references and index
内容説明・目次
内容説明
Photography's great success gives the impression that the major questions that have haunted the medium are now resolved. On the contrary, the most important questions about photography are just beginning to be asked. These fourteen essays, with over 200 illustrations, critically examine prevailing beliefs about the medium and suggest new ways to explain the history of photography. They are organized around the questions: What are the social consequences of aesthetic practice? How does photography construct sexual difference? How is photography used to promote class and national interests? What are the politics of photographic truth? The Contest of Meaning summarizes the challenges to traditional photographic history that have developed in the last decade out of a consciously political critique of photographic production. Contributions by a wide range of important Americans critics reexamine the complex-and often contradictory-roles of photography within society. Douglas Crimp, Christopher Phillips, Benjamin Buchloh, and Abigail Solomon Godeau examine the gradually developed exclusivity of art photography and describe the politics of canon formation throughout modernism. Catherine Lord, Deborah Bright, Sally Stein, and Jan Zita Grover examine the ways in which the female is configured as a subject, and explain how sexual difference is constructed across various registers of photographic representation. Carol Squiers, Esther Parada, and Richard Bolton clarify the ways in which photography serves as a form of mass communication, demonstrating in particular how photographic production is affected by the interests of the powerful patrons of communications. The three concluding essays, by Rosalind Krauss, Martha Rosler, and Allan Sekula, critically examine the concept of photographic truth by exploring the intentions informing various uses of "objective" images within society.
目次
- Part 1 What are the social consequences of aesthetic practice?: the museum's old / the library's new subject, Douglas Crimp
- the judgment seat of photography, Christopher Phillips
- from faktura to factography, Benjamin H.D. Buchloh
- the armed vision disarmed - radical formalism from weapon to style, Abigail Solomon-Godeau. Part 2 How does photography construct sexual difference?: what becomes a legend most - the short, sad career of Diane Arbus, Catherine Lord
- of mother nature and Marlboro men - an inquiry into the cultural meanings of landscape photography, Deborah Bright
- the graphic ordering of desire - modernization of a middle-class women's magazine, 1914-39, Sally Stein
- dykes in context - some problems in minority representation, Jan Zita Grover. Part 3 How is photography used to promote class and national interests? the corporate year in pictures, Carol Squiers
- c/overt ideology - two images of revolution, Esther Parada
- in the American East - Richard Avedon incorporated, Richard Bolton. Part 4 What are the politics of photographic truth?: photography's discursive spaces, Rosalind Krauss
- in, around, and afterthoughts (on documentary photography), Martha Rosler
- the body and the archive, Allan Sekula.
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