Challenging Yet Exciting Time for Professional Photography. the 'Citizen-Reporter', Who Can Make Images with a Smartphone and Pu

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Challenging Yet Exciting Time for Professional Photography. the 'Citizen-Reporter', Who Can Make Images with a Smartphone and Pu

Sincc the publication of the first volume in 2004 and a second in 2006, The Photobook: A History has become established as the leading authority on the evolution of the photobook for enthusiasts, academics and bibliophiles alike. The Photobook: A History, volume /// continues the authoritative survey by examining the changing face of the photobook in the decades of the Cold War, the new millennium and the internet. It features publications by many well-known photographers from Joel Meycrowitz, John Gossage and Kazuo Kitai to Walter Pfiefler, Susan Mciselas and Roger Ballen. But it also introduces many innovative books by unknown or overlooked pho¬ tographers who are helping to re-examine and redefine the photobook at a challenging yet exciting time for professional photography. Despite the much-trumpeted 'death of the book1, the influence of file- sharing and social network sites such as Youtube and Flickr and the rise of the 'citizen-reporter', who can make images with a smartphone and publish them online within moments, many photographers still see the photobook - a bound collection of work - as the most important vehicle for communi¬ cating their vision. Indeed, the same technological developments that seem to threaten the primacy of the printed photobook in many ways give pho¬ tographers greater control than ever over not only the reproduction of their images but also how they are bound and presented, from limited edition art books to boxed editions or print-on-demand works of multiple volumes. Martin Parr's celebrated photographs bridge the divide between art and documentary photography. His studies of the idiosyncrasies of mass culture and consumerism around the world, his innovative imagery and his prolific- output have placed him firmly at the (orefront of contemporary art. Parr is a member of the international photo agency Magnum Photos, and has recently extended his interest to film-making. He is an avid collector and maker of photobooks. His own photobooks include 'I he Last Resort (ic)HG), Common .SV7/W1999), Poring Postamis (Phaidon Press, 1999), Luxury (2008) and Life a a Hatch (2012). 'The extensive monograph on his work, Alartin Parr by Val Williams, is published by Phaidon Press. Gerry Badger is a critic, architect, curator and photographer. His pub¬ lished books include Collecting Photography (2003) and John Gossage: Berlin in the 'lime of the Wall (2005), as well as Phaidon's 55s on Chris Killip (2001) and Kugenc Atgct (2001). In 2007, he published The (renins ofPhotography, the book of the BBC Television series of the same name, and The Pleasures of Good Photographs (2010), an anthology of his essays on photography, which was awarded the 2011 Infinity Writers' Award from the International Center of Photography, New York..

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Daly, Timothy Michael (2016) Towards a fugitive press: materiality and the printed photograph in artists’ books. Doctoral thesis (PhD), Manchester Metropolitan University. Downloaded from: https://e-space.mmu.ac.uk/617237/ Usage rights: Creative Commons: Attribution-Noncommercial-No Deriva- tive Works 4.0 Please cite the published version https://e-space.mmu.ac.uk Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly PhD 2016 Towards a fugitive press: materiality and the printed photograph in artists’ books Tim Daly A thesis submitted in partial fulfilment of the requirements of the Manchester Metropolitan University for the degree of Doctor of Philosophy MIRIAD Manchester Metropolitan University June 2016 Contents a. Abstract 1 b. Research question 3 c. Field 5 d. Aims and objectives 31 e. Literature review 33 f. Methodology 93 g. Practice 101 h. Further research 207 i. Contribution to knowledge 217 j. Conclusion 220 k. Index of practice conclusions 225 l. References 229 m. Bibliography 244 n. Research outputs 247 o. Appendix - published research 249 Tim Daly Speke (1987) Silver-gelatin prints in folio A. Abstract The aim of my research is to demonstrate how a practice of hand made books based on the materiality of the photographic print and photo-reprography, could engage with notions of touch in the digital age. We take for granted that most artists’ books are made from paper using lithography and bound in the codex form, yet this technology has served neither producer nor reader well. As Hayles (2002:22) observed: We are not generally accustomed to thinking about the book as a material metaphor, but in fact it is an artifact whose physical properties and historical usage structure our interactions with it in ways obvious and subtle.
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Introduction
Introduction Martin Parr is a chronicler of our age. In the face of the constantly growing flood of images released by the media, his photographs offer us the opportunity to see the world from his unique perspective. At first glance, his photographs seem exaggerated or even grotesque. The motifs he chooses are strange, the colours are garish and the perspectives are unusual. Parr's term for the overwhelming power of published images is "propaganda". He counters this propaganda with his own chosen weapons: criticism, seduction and humour. As a result, his photographs are original and entertaining, accessible and understandable. But at the same time they show us in a penetrating way that we live, how we present ourselves to others, and what we value. Leisure, consumption and communication are the concepts that this British photographer has been researching for several decades now on his worldwide travels. In the process, he examines national characteristics and international phenomena to find out how valid they are as symbols that will help future generations to understand our cultural peculiarities. Parr enables us to see things that have seemed familiar to us in a completely new way. In this way he creates his own image of society, which allows us to combine an analysis of the visible signs of globalisation with unusual visual experiences. In his photos, Parr juxtaposes specific images with universal ones without resolving the contradictions. Individual characteristics are accepted and eccentricities are treasured. The themes Parr selects and his inimitable treatment of them set him apart as a photographer whose work involves the creation of extensive series.
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“Highlights of a Trip to Hell” Contextualizing the Initial
“Highlights Of A Trip To Hell” Contextualizing the Initial Reception of Larry Clark’s Tulsa by William T. Green A thesis project presented to Ryerson University and George Eastman House, Intentional Museum of Photography in Film In partial fulfillment of the requirements for the degree of Master of Arts in the program of Photographic Preservation and Collections Management Rochester, New York, United States and Toronto, Ontario, Canada, 2013 © William T. Green 2013 Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I authorize Ryerson University to lend this thesis to other institutions or individuals for the purpose of scholarly research. William T. Green I further authorize Ryerson University to reproduce this thesis by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my thesis may be made electronically available to the public. William T. Green ii Abstract Released in 1971, Tulsa, American artist Larry Clark’s career-launching first photobook, is today remembered as marking a watershed moment in American photography. This paper travels back to the era that Tulsa was first published to examine the book’s initial critical reception and significance within that specific cultural and artistic climate. It presents an abbreviated overview of Tulsa’s gradual creation; illustrates the ways in which the book was both similar to and different from other commonly cited contemporaneous works; and surveys its evolving status and reputation throughout the 1970s and into the early 1980s, when its second edition was published.
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Words Without Pictures
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• the Third and Final Volume in Phaidon's Acclaimed Photobook Series, Hailed As 'The Most Important Contribution to the Fi
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The History of Photography: the Research Library of the Mack Lee
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Coversheet for Thesis in Sussex Research Online
A University of Sussex PhD thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details 1 UNIVERSITY OF SUSSEX Alice Compton Ph.D Waste of a Nation: Photography, Abjection and Crisis in Thatcher’s Britain May 2016 2 ABSTRACT This examination of photography in Thatcher’s Britain explores the abject photographic responses to the discursive construction of ‘sick Britain’ promoted by the Conservative Party during the years of crisis from the late 1970s onwards. Through close visual analyses of photojournalist, press, and social documentary photographs, this Ph.D examines the visual responses to the Government’s advocation of a ‘healthy’ society and its programme of social and economic ‘waste-saving’. Drawing Imogen Tyler’s interpretation of ‘social abjection’ (the discursive mediation of subjects through exclusionary modes of ‘revolting aesthetics’) into the visual field, this Ph.D explores photography’s implication in bolstering the abject and exclusionary discourses of the era. Exploring the contexts in which photographs were created, utilised and disseminated to visually convey ‘waste’ as an expression of social abjection, this Ph.D exposes how the Right’s successful establishment of a neoliberal political economy was supported by an accelerated use and deployment of revolting photographic aesthetics.
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329 Photographie 9. Juni 2021
329 Sommer 2021 Photographie Photographie 9. Juni 2021 Thomas Struth. Los 2056 Dr. Richard Gustav Neuhauss. Los 2112 Photographie Auktion Nr. 329 9. Juni 2021, 18 Uhr Photography Auction No. 329 9 June 2021, 6 p.m. Experten Specialists Vorbesichtigung Preview Sämtliche Werke Berlin 25. Mai bis 8. Juni 2021 Grisebach Fasanenstraße 25, 27 und 73 10719 Berlin Montag bis Sonntag 10 bis 18 Uhr Dienstag, 8. Juni, 10 bis 15 Uhr sowie nach individueller Vereinbarung Monday to Sunday 10 a.m. to 6 p.m. Diandra Donecker Sabina Mlodzianowski Tuesday, 8 June, 10 a.m. to 3 p.m. +49 30 885 915 27 +49 30 885 915 4426 and by appointment [email protected] [email protected] Persönliche Termine in unseren Repräsentanzen Nach vorheriger Terminverein - barung und Angabe der Werke, die Sie besichtigen möchten • [email protected] Zoomtermine mit unseren Experten Nach vorheriger Terminvereinbarung Susanne Schmid • [email protected] +49 30 885 915 26 [email protected] Virtuelle Vorbesichtigung ab Mitte Mai 2021 auf grisebach.com Personal appointments in our representative offices After prior appointment. Please also let us know which works you are interested in • [email protected] Zoom dates with our specialists After prior appointment Zustandsberichte • [email protected] Condition reports [email protected] Virtual tour from mid-May 2021 at grisebach.com Grisebach — Sommer 2021 R 2000 Eadweard Muybridge (Edward James Muggeridge) 1830 – Kingston upon Thames – 1904 Running and jumping with skipping rope. Plate 174, aus der Serie „Animal Locomotion“. 1885 Lichtdruck auf Karton, 1887. 19,4 × 38 cm (47,5 × 60,3 cm).
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Badgering Parr
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1 PHI 4930-003: Philosophy of Images TR 9:30-11:00, Spring 2018 Dr
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New Year/New Work Images from Nine Photographers
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