There is little dispute that photography is a material practice, and that the photograph itself is ineluctably material. And yet "matter," "material," and "materiality" have proven to be remarkably elusive terms of inquiry, frequently producing studies that are disparate in scope, sharing seemingly little common ground. Although the wide methodological range of materialist study can be dizzying, it is this book's contention that that multiplicity is also the field's greatest asset, keeping materialist inquiry enduringly vibrant-provided that varying methods are in close enough proximity to converse. Photography's Materialities orchestrates one such conversation. Juxtaposing the insights of theorists like Lacan, Benjamin, and Latour beside close studies of crime, spirit, and composite photography, among others, this collection aims for a productive synergy, one capacious enough to span transatlantic spaces over the long nineteenth century.
Contributors: Kris Belden-Adams (University of Mississippi), Maura Coughlin (Bryant University), David LaRocca (independent scholar), Jacob W. Lewis (University of Rochester), Mary Marchand (Goucher College), Zachary Tavlin (Art Institute of Chicago), Christa Holm Vogelius (University of Copenhagen)
The idea that women are dangerous - individually or collectively - runs throughout history and across cultures. Behind this label lies a significant set of questions about the dynamics, conflicts, identities and power relations with which women live today.
The Art of Being Dangerous offers many different images of women, some humorous, some challenging, some well-known, some forgotten, but all unique. In a dazzling variety of creative forms, artists and writers of diverse identities explore what it means to be a dangerous woman.
With almost 100 evocative images, this collection showcases an array of contemporary art that highlights the staggering breadth of talent among today's female artists. It offers an unparalleled gallery of feminist creativity, ranging from emerging visual artists from the UK to multi-award-winning writers and translators from the Global South.
First comprehensive and richly illustrated overview of historical Belgian photographic literature.
The development of photography from its roots in 19th-century science gradually transformed book illustration and the dissemination of images. This fully bilingual reference work presents a first comprehensive survey of Belgian photographic literature of the 19th century, both of illustrated books and of technical publications. It makes a major contribution to academic study in the field, with a corpus composed of 681 entries and, for each title, indicates locations of surviving copies in institutional collections in Belgium and elsewhere. An introductory essay plots the development of photographic publishing in Belgium, making full use of primary and secondary sources. An album of over eighty images draws on the rich iconography of early Belgian photographic literature, most reprinted here for the first time.
Premier bilan complet et illustré de l'édition photographique belge au 19e siècle.
L'évolution de la photographie depuis ses origines dans les sciences du 19e siècle a transformé progressivement l'illustration du livre et la diffusion des images. Le présent ouvrage de référence, entièrement bilingue, a pour but de dresser un premier bilan complet de l'édition photographique belge au 19e siècle, tant iconographique que scientifique. Il constitue une importante contribution aux connaissances historiques dans le domaine et se compose d'un corpus de 681 notices, assorties chacune d'un recensement d'exemplaires localisés dans les collections publiques en Belgique comme ailleurs. Une introduction trace l'évolution de l'édition photographique belge, exploitant pleinement des sources primaires et secondaires. Un album de plus de quatre-vingts illustrations puise dans la riche iconographie des débuts de l'édition photographique belge ; la plupart sont reproduites ici pour la première fois.
Held on the occasion of Louvre Abu Dhabi's first anniversary, the symposium Worlds in a Museum addressed the topic of museums in the era of globalisation, exploring contemporary museology and the preservation and presentation of culture within the context of changing societies. Departing from the historical museum structure inherited from the Enlightenment, leading experts from art, cultural, and academic institutions explore present-day achievements and challenges in the study, display and interpretation of art, history, and artefacts. How are "global" and "local" objects and narratives balanced - particularly in consideration of diverse audiences? How do we foster perspective and multiculturalism while addressing politicised notions of centre and periphery? As they abandon classical canons and categories, how are museums and cultural entities redefining themselves beyond predefined concepts of geography and history?
This collection of essays arises from the symposium Worlds in a Museum organised by Louvre Abu Dhabi and École du Louvre.
Photography was long regarded as a "middle-brow" art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book-part institutional history, part account of shifting photographic theories and practices-Alexandra Moschovi tells the story of photography's accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography's status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site.
At the crossroads of philosophy, artistic practice, and art history
Though Gilles Deleuze and Felix Guattari were not strictly art historians, they reinvigorated ontological and formal approaches to art, and simultaneously borrowed art historical concepts for their own philosophical work. They were dedicated modernists, inspired by the German school of expressionist art historians such as Riegl, Wölfflin, and Worringer and the great modernist art critics such as Rosenberg, Steinberg, Greenberg, and Fried. The work of Deleuze and Guattari on mannerism and Baroque art has led to new approaches to these artistic periods, and their radical transdisciplinarity has influenced contemporary art like no other philosophy before it. Their work therefore raises important methodological questions on the differences and relations among philosophy, artistic practice, and art history. In Art History after Deleuze and Guattari international scholars from all three fields explore what a 'Deleuzo-Guattarian art history' could be today.