Documentary Photography Reconsidered by
Documentary photography is undergoing an unprecedented transformation as it adapts to the impact of digital technology, social media and new distribution methods. In this book, photographer and educator Michelle Bogre contextualizes these changes by offering a historical, theoretical and practical perspective on documentary photography from its inception to the present day. Documentary Photography Reconsidered is structured around key concepts, such as the photograph as witness, as evidence, as memory, as narrative and as a vehicle for activism and social change. Chapters include in-depth interviews with some of the world's leading contemporary practitioners, demonstrating the wide variety of different working styles, techniques and topics available to new photographers entering the field. Every key concept is illustrated with work from a range of innovative, influential and often under-represented photographers, giving a flavor of the depth and range of projects from the history of this global art form. There are also creative projects designed to spark ideas and build skills, to help you conceive, develop and produce your own meaningful documentary projects. The book is supported by a companion website, which includes in-depth video interviews with featured practitioners.
Contest of Meaning by
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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.
Watched! Surveillance, Art and Photography by
Watched reflects on the complexities of contemporary surveillance, from technologies used by state authorities to everyday monitoring practices. Artists include Meri Alg n Ringborg, Jason E. Bowman, James Bridle, Adam Broomberg & Oliver Chanarin, Tina Enghoff, Alberto Frigo, Mishka Henner, Marco Poloni, Ann-Sofi Sid n and Hito Steyerl.
Work by
This book showcases Chris Killip's photography from 1969 to 2005, and is a retrospective of a photographer who has influenced an entire generation of younger documentary photographers. Arbeit / Work presents several of Killip's longterm projects, primarily in North England, which explore the working and living conditions of people through portraits as well as images of landscapes and architecture. This comprehensive publication includes Killip's early portraits for the first time in book form, as well as images made in Ireland and on the Isle of Man.
From Here On by
The transition from analogue to digital images and the spread of the Internet and mobile telephones has radically changed the world of photography to the point of no return. This new technological potential has some still-budding creative consequences and has modified and questioned key concepts such as those of authorship and original works by multiplying the possibilities of reproducing and circulating images in an unexpected way. It is a true creative revolution that many artists of the image are exploring worldwide. As a type of manifesto sponsored by the prestigious Rencontres d'Arles and curated by a top-notch team (formed by Clement Chereux, conservator of Centre Georges Pompidou's Photography Department; the artist Joan Fontcuberta; Erik Kessels, the artistic director of KesselsKramer; Martin Parr, a photographer at the Magnum agency and artist Joachim Schmid, all renowned specialists and students of contemporary imagery), From Here On is the first big international exhibition that presents the phenomenon of post-photography in all its complexity and diversity.Joan Fontcuberta solo shows include the New York MoMA, Chicago Art Institute, Valencia IVAM and Barcelona La Virreina Centre de la Imatge. He has published many books, mainly on his artistic work but also on the history, aesthetics and education of photography. 177 photographs
Photographs 2006 by
The long-awaited anthology of David Goldblatt's works, published on the occasion of the 2006 exhibition in Arles (with Martin Parr as curator), which afterward will tour internationally. David Goldblatt is South Africa's most important photographer. He has produced a body of work that is an original and extensive study of South Africa during and after apartheid. HisOn The Mines (1973), with a text by Nadine Gordimer,Some Afrikaners Photographed (1975), andLifetimes: Under Apartheid (1986), again with a text by Gordimer, document the complexity of South African lives, and are considered milestones in the history of photography. His following work on built structures, the human landscape that speaks of the forces shaping South African society from colonial times up to the end of white domination, led to the exhibition of his most somber works, "Structures," at The Museum of Modern Art, and to publication ofSouth Africa: the Structure of Things Then (1998). In 1999 he began working in color for the first time, manipulating colors and composing the images according to his nuanced view of things. This change in Goldblatt's narrative style is registered in his publication ofBelonging, on the new South African identity and urban areas, and more recently inIntersections (2005), on rural places and South African natural landscapes. Goldblatt's photographs are in the collections of The Museum of Modern Art, New York; The South African National Gallery, Cape Town; the Bibliothèque Nationale, Paris; and in The Victoria and Albert Museum, London. In 2006, Goldblatt won the Hasselblad Foundation International Award in Photography.
The Last Interview by
Accompanied by some of his lesser-known photographs, this distilled dialogue is drawn directly from the recordings of a roving conversation with David Goldblatt three months before his death in June 2018. Goldblatt was born in Randfontein-a mining town on the Witwatersrand gold reef-in 1930, the grandson of Lithuanian-Jewish migrants who settled in South Africa after escaping persecution in Europe. After the death of his father in 1962, Goldblatt sold the family clothing business to become a full-time photographer. Describing himself as "a self-appointed observer and critic of the society into which I was born," he photographed the people, landscapes and structures of South Africa under apartheid and its persistent aftermath. In this candid conversation with writer Alexandra Dodd, Goldblatt shares his views about land and landscape, the dangerous lure of repetition in portrait photography, Johannesburg, the solipsism of life as a photographer, staying sharp, his visceral intolerance of censorship, his abiding interest in structures and his observation of instances of dominion under democracy, among other key themes. In March, I flew up to Johannesburg to interview Goldblatt. When he opened the gate, I could see the effects on his body of his fight with illness. He was smaller, more hewn than ever. As we entered the sanctum of his office, he stopped in the doorway, flinched, and said something along the lines of: 'Forgive me if I'm not at my best with this catheter up my cock.' With that, our conversation began... Alexandra Dod
Street Photography Now by
For the last twenty years the candid photography of life in public has been mostly underground but secretly flourishing, stimulated by the wide availability of digital cameras, a profusion of photoblogs, and new self-publishing opportunities.Street Photography Now showcases the work of forty-six image-makers who are notable for their candid depictions of life on the streets and in the subway, in shopping malls and movie theaters, on beaches and in parks. Four thought-provoking essays put the work into the wider context of what has gone before, while quotes from the photographers expand and illuminate their work and draw attention to their influences and ways of working.Included are luminaries such as Magnum grandmasters Bruce Gilden, Martin Parr, and Alex Webb, as well as an international group of emerging photographers whose views of New York or Tokyo, Mumbai or Bournemouth, Istanbul or Dakar, all record moments in time that will never be repeated.
In Flagrante Two by
The photographs that Chris Killip made in Northern England between 1973 and 1985 were first published by Secker & Warburg in the book In Flagrante in 1988. The new oversized Steidl edition is a radically updated presentation, showing a single image on the right side of each double-page spread. In Flagrante Two is strident in its belief in the primacy of the photograph, embracing ambiguities and contradictions in an unadorned narrative sequence devoid of text.
Magnum Contact Sheets by
Contact sheets unveil the story of what went into a photograph. Was it the outcome of what a photographer had in mind from the outset? Did it emerge from a diligently worked sequence? Was the right shot a matter of being in the right place at the right time? Here, for the first time, are the best contact sheets created by Magnum photographers. They reveal the creative methods, strategies, and editing processes used by some of the acknowledged greats of photography, from legends such as Henri Cartier-Bresson and Elliott Erwitt to Magnum's latest generation, including Jonas Bendiksen, Trent Parke, and Alec Soth.Events, places, and people from over seventy years of history are contained in Magnum's contact sheets, including the Normandy landings by Robert Capa, Che Guevara by Rene´ Burri, the Paris riots of 1968 by Bruno Barbey, Malcolm X by Eve Arnold, and New York street scenes by Bruce Gilden.With supporting texts by the photographers or by those selected by the estates of deceased Magnum members, and ancillary material such as press cards, notebooks, and filed captions, this landmark publication provides a depth of understanding and a critical analysis of the backstory to a photograph.
Photoworks 1982-2007 by
Joachim Schmid began his career as a critic, arguing passionately against prevailing notions of "art photography" and in favor of a broad, encompassing view of the medium as a form of cultural practice. In the late 80s, he shifted his focus to making those arguments in his own art, which is based primarily on found photography. At the time, Schmid lived near one of the largest flea markets in Berlin, and his broad collection of vernacular photography formed the raw material for many of the works included here. His oeuvre reflects a close observation of photographic history and a fascination with the images themselves, in all their bizarre and conventionalized aspects, but its fundamental richness--along with the sardonic wit he so often displays--derails any attempt to read it as academic.
Workers, an archaeology of the industrial age. by Photography/Politics Two by
Photography/Politics Two presents photography projects and essays which reflect the wide range of current debates about photographic education and practice.
The suffering of light : thirty years of photographs by 
