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Editorial Reviews
From Library Journal
Editor Bolton has assembled 14 essays offering an alternate approach to the popular vein of post-modernist theory that suggests the understanding of form is ahistorical, i.e., not dependent on context. The book is organized around four 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?"; and "What Are the Politics of Photographic Truth?" Essayists such as Rosalind Krauss, Allen Sekula, and Douglas Crimp aim to "repoliticize" the history of the medium, which they feel has been "neutralized" by formalist definition. Building on the dialectical approach of Critical Theorists, "these writers develop an understanding of meaning as a contest created out of opposition and negotiation." Fascinating and very well illustrated but rather heady. Essential for academic photography collections.
- Kathy J. Anderson, Onondaga Cty. P.L., N.Y.
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Review
"Eminently readable, the critical essays collected here interrogate our limited understanding of so called art photography, by unmasking the ideological and political realities that have shaped both its production and interpretation."
—Anthony Aziz, SF Camerawork
See all Editorial Reviews
Editor Bolton has assembled 14 essays offering an alternate approach to the popular vein of post-modernist theory that suggests the understanding of form is ahistorical, i.e., not dependent on context. The book is organized around four 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?"; and "What Are the Politics of Photographic Truth?" Essayists such as Rosalind Krauss, Allen Sekula, and Douglas Crimp aim to "repoliticize" the history of the medium, which they feel has been "neutralized" by formalist definition. Building on the dialectical approach of Critical Theorists, "these writers develop an understanding of meaning as a contest created out of opposition and negotiation." Fascinating and very well illustrated but rather heady. Essential for academic photography collections.
- Kathy J. Anderson, Onondaga Cty. P.L., N.Y.
Copyright 1990 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
Review
"Eminently readable, the critical essays collected here interrogate our limited understanding of so called art photography, by unmasking the ideological and political realities that have shaped both its production and interpretation."
—Anthony Aziz, SF Camerawork
See all Editorial Reviews
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63
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- Photography : A Critical Introduction by Liz Wells on 9 pages
- Photography: A Critical Introduction by Liz Wells on 6 pages
- American Archives by Shawn Michelle Smith on 4 pages
- The Art of History: African American Women Artists Engage the Past by Lisa Gail Collins in Back Matter (1), Back Matter (2), and Back Matter (3)
- Photography: A Critical Introduction by Liz Wells on page 101, page 155, and page 197
See all 63 books citing this book
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