As a crucial extension of its ongoing investigation of vernacular photography, the Walther Collection has collaborated with key scholars and critical thinkers in the history of photography, women's studies, queer theory, Africana studies, and curatorial practice to interrogate vernacular's theoretical limits, as well as to conduct case studies of a striking array of objects and images, many from the collection's holdings.
As its title suggests, Negative/Positive begins with the negative, a foundational element of analog photography that is nonetheless usually ignored, and uses this to tell a representative, rather than comprehensive, history of the medium. The fact that a photograph is split between negative and positive manifestations means that its identity is always simultaneously divided and multiplied. The interaction of these two components was often spread out over time and space and could involve more than one person, giving photography the capacity to produce multiple copies of a given image and for that image to have many different looks, sizes and makers. This book traces these complications for canonical images by such figures as William Henry Fox Talbot, Kusakabe Kimbei, Dorothea Lange, Man Ray, Seydou Keïta, Richard Avedon, and Andreas Gursky. But it also considers a number of related issues crucial to any understanding of photography, from the business practices of professional photographers to the repetition of pose and setting that is so central to certain familiar photographic genres. Ranging from the daguerreotype to the digital image, the end result is a kind of little history of photography, partial and episodic, but no less significant a rendition of the photographic experience for being so. This book represents a summation of Batchen’s work to date, making it be essential reading for students and scholars of photography and for all those interested in the history of the medium
Essays on photography and the medium's history and evolving identity. In Each Wild Idea, Geoffrey Batchen explores a wide range of photographic subjects, from the timing of the medium's invention to the various implications of cyberculture. Along the way, he reflects on contemporary art photography, the role of the vernacular in photography's history, and the Australianness of Australian photography. The essays all focus on a consideration of specific photographs—from a humble combination of baby photos and bronzed booties to a masterwork by Alfred Stieglitz. Although Batchen views each photograph within the context of broader social and political forces, he also engages its own distinctive formal attributes. In short, he sees photography as something that is simultaneously material and cultural. In an effort to evoke the lived experience of history, he frequently relies on sheer description as the mode of analysis, insisting that we look right at—rather than beyond—the photograph being discussed. A constant theme throughout the book is the question of photography's past, present, and future identity.
In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination.
Campt explores the affective resonances of two archives of Black European photographs for those pictured, their families, and the community. Image Matters looks at photograph collections of four Black German families taken between 1900 and the end of World War II and a set of portraits of Afro-Caribbean migrants to Britain taken at a photographic studio in Birmingham between 1948 and 1960.
A collection of essential quotations from the renowned fashion designer, DJ, and stylist Abloh-isms is a collection of essential quotations from American fashion designer, DJ, and stylist Virgil Abloh, who was a major creative figure in the worlds of pop culture and art. Abloh began his career as Kanye West’s creative director before founding the luxury streetwear label Off-White and becoming artistic director for Louis Vuitton, making Abloh the first American of African descent to hold that title at a French fashion house. Defying categorization, Abloh’s work has been the subject of solo exhibitions at museums and galleries, most notably in a major retrospective at the Museum of Contemporary Art Chicago. Gathered from interviews and other sources, this selection of compelling and memorable quotations from the designer reveals his thoughts on a wide range of subjects, including creativity, passion, innovation, race, and what it means to be an artist of his generation. Lively and thought-provoking, these quotes reflect Abloh’s unique perspective as a trailblazer in his fields. Select quotations from the book: “I believe that coincidence is key, but coincidence is energies coming towards each other. You have to be moving to meet it.” “Life is collaboration. Where I think art can be sort of misguided is that it propagates this idea of itself as a solo love affair—one person, one idea, no one else involved.” “Black influence has created a new ecosystem, which can grow and support different types of life that we couldn’t before."
'Living as Form' grew out of a major exhibition at Creative Time in New York City. Like the exhibition, the book is a landmark survey of more than 100 projects selected by a 30-person curatorial advisory team; each project is documented by a selection of colour images.
The Millennium Dome, Braveheart and Rolls Royce cars. How do cultural icons reproduce and transform a sense of national identity? How does national identity vary across time and space, how is it contested, and what has been the impact of globalization upon national identity and culture?This book examines how national identity is represented, performed, spatialized and materialized through popular culture and in everyday life. National identity is revealed to be inherent in the things we often take for granted - from landscapes and eating habits, to tourism, cinema and music. Our specific experience of car ownership and motoring can enhance a sense of belonging, whilst Hollywood blockbusters and national exhibitions provide contexts for the ongoing, and often contested, process of national identity formation. These and a wealth of other cultural forms and practices are explored, with examples drawn from Scotland, the UK as a whole, India and Mauritius. This book addresses the considerable neglect of popular cultures in recent studies of nationalism and contributes to debates on the relationship between ‘high' and ‘low' culture.
An almanac to the world of Gilles Peress' Whatever You Say, Say Nothing, delineating the decades of conflict in Northern Ireland In Annals of the North, New York-based photographer Gilles Peress (born 1946) and writer and lawyer Chris Klatell combine essays, stories, photographs, documents and testimonies to open up for the reader the complicated and contradictory storylines that emerged from the conflict in the North of Ireland. Weighed down by 800 years of colonization but only the size of Connecticut (with half its population), Northern Ireland provides a remarkably intimate stage set. Interweaving text and image, Annals of the Northexamines the multifaceted struggle between Irish Republicans and Nationalists, Protestant Unionists and Loyalists, and the imperial British, to explore broader themes of empire, retribution and betrayal, as well as the tense dialectic between the ordinary demands of everyday life and periodic explosions of violence. The book is at once wide-ranging yet deeply personal and political, alternately dense and humorous, legal and literary.
Genre studies and genre approaches to literacy instruction continue to develop in many regions and from a widening variety of approaches. Genre has provided a key to understanding the varying literacy cultures of regions, disciplines, professions, and educational settings. GENRE IN A CHANGING WORLD provides a wide-ranging sampler of the remarkable variety of current work. The twenty-four chapters in this volume, reflecting the work of scholars in Europe, Australasia, and North and South America, were selected from the over 400 presentations at SIGET IV (the Fourth International Symposium on Genre Studies) held on the campus of UNISUL in Tubarão, Santa Catarina, Brazil in August 2007—the largest gathering on genre to that date. The chapters also represent a wide variety of approaches, including rhetoric, Systemic Functional Linguistics, media and critical cultural studies, sociology, phenomenology, enunciation theory, the Geneva school of educational sequences, cognitive psychology, relevance theory, sociocultural psychology, activity theory, Gestalt psychology, and schema theory. Sections are devoted to theoretical issues, studies of genres in the professions, studies of genre and media, teaching and learning genre, and writing across the curriculum. The broad selection of material in this volume displays the full range of contemporary genre studies and sets the ground for a next generation of work.
