More than Robert Frank's The Americans: American Photography in 1960
Starburst : color photography in America 1970-1980.
Kevin Moore ; with essays by James Crump and Leo Rubinfien.
Ostfildern, Germany : Hatje Cantz, c2010.
271 p. : ill. (chiefly col.) ; 31 cm.
TR510 .M66 2010 F
Kevin Moore ; with essays by James Crump and Leo Rubinfien.
Ostfildern, Germany : Hatje Cantz, c2010.
271 p. : ill. (chiefly col.) ; 31 cm.
TR510 .M66 2010 F
The history of Japanese photography.
Anne Wilkes Tucker, et al.
New Haven : Yale University Press in association with the Museum of Fine Arts, Houston, c2003.
xxiii, 405 p. : chiefly ill. (some col.), map ; 32 cm.
TR105 .H57 2003 F
Since John Szarkowski's 1974 Museum of Modern Art exhibition and catalog, New Japanese photography TR646 .U6 N488, this topic has received considerable critical attention, especially recently with increased interest in Japanese photobooks. Tucker's expansive exhibition catalog is, however, one of the first comprehensive treatments of Japanese photography to appear in English. This title contains seven essays which cover the arrival of photography in Japan (1848) through the late 20th century. With a brief timeline outlining major periods of Japanese history, a map, extensive artists profiles, an annotated and illustrated listing of major Japanese photography magazines, and bibliography, this work provides an excellent introduction. Try SearchWorks to find more titles on Japanese photography.
Anne Wilkes Tucker, et al.
New Haven : Yale University Press in association with the Museum of Fine Arts, Houston, c2003.
xxiii, 405 p. : chiefly ill. (some col.), map ; 32 cm.
TR105 .H57 2003 F
Since John Szarkowski's 1974 Museum of Modern Art exhibition and catalog, New Japanese photography TR646 .U6 N488, this topic has received considerable critical attention, especially recently with increased interest in Japanese photobooks. Tucker's expansive exhibition catalog is, however, one of the first comprehensive treatments of Japanese photography to appear in English. This title contains seven essays which cover the arrival of photography in Japan (1848) through the late 20th century. With a brief timeline outlining major periods of Japanese history, a map, extensive artists profiles, an annotated and illustrated listing of major Japanese photography magazines, and bibliography, this work provides an excellent introduction. Try SearchWorks to find more titles on Japanese photography.
The last picture show : artists using photography, 1960-1982.
Douglas Fogle.
Minneapolis, Minn. : Walker Art Center, c2003.
335 p. : ill. (some col.) ; 26 cm.
TR645 .M542 W354 2003
Fogle's excellent catalog, which accompanied an exhibition of the same name, delivers critical essays written especially for the exhibition, as well as historical texts from the era (Dan Graham, Vito Acconci, John Baldessari, Barbara Kruger, etc.), with twenty-five writings in all. Fogle's "Last Picture Show" and Stefan Gronert's "Alternative Pictures: Conceptual Art and the Artistic Emancipation of Photography in Europe" effectively demarcate the issues under investigation: the questionable status of the object, the photograph as document, claims of the original, etc., or, as Louise Lawler's photograph asks, "Why Pictures Now" (1981). Extensively illustrated. Matthew Witkovsky's Art Institute of Chicago exhibition and catalog, Light years: Conceptual art and the photograph, 1964-1977 (2012), provides a more recent analysis of the period.
Douglas Fogle.
Minneapolis, Minn. : Walker Art Center, c2003.
335 p. : ill. (some col.) ; 26 cm.
TR645 .M542 W354 2003
Fogle's excellent catalog, which accompanied an exhibition of the same name, delivers critical essays written especially for the exhibition, as well as historical texts from the era (Dan Graham, Vito Acconci, John Baldessari, Barbara Kruger, etc.), with twenty-five writings in all. Fogle's "Last Picture Show" and Stefan Gronert's "Alternative Pictures: Conceptual Art and the Artistic Emancipation of Photography in Europe" effectively demarcate the issues under investigation: the questionable status of the object, the photograph as document, claims of the original, etc., or, as Louise Lawler's photograph asks, "Why Pictures Now" (1981). Extensively illustrated. Matthew Witkovsky's Art Institute of Chicago exhibition and catalog, Light years: Conceptual art and the photograph, 1964-1977 (2012), provides a more recent analysis of the period.
A century of colour photography : from the autochrome to the digital age.
Pamela Roberts.
London : André Deutsch, 2007.
256 p. : chiefly col. ill. ; 32 cm.
TR510 .R63 2007 F
This recent, extensively illustrated, chronological history of color photography is useful for its scope of coverage. Starting with a section on hand-coloring in the 19th century, "What came before," the text concludes with a chapter on "Digital Directions." Jack Coote's The illustrated history of colour photography TR510 .C65 also serves as a good, technical treatment. Neither is especially detailed in terms of critical or theoretical issues surrounding color photography. John Szarkowski's essay in William Eggleston's guide (c1976) TR654 .E35 2002 is essential reading for the student interested in the critical establishment's reluctant acceptance of color work.
Pamela Roberts.
London : André Deutsch, 2007.
256 p. : chiefly col. ill. ; 32 cm.
TR510 .R63 2007 F
This recent, extensively illustrated, chronological history of color photography is useful for its scope of coverage. Starting with a section on hand-coloring in the 19th century, "What came before," the text concludes with a chapter on "Digital Directions." Jack Coote's The illustrated history of colour photography TR510 .C65 also serves as a good, technical treatment. Neither is especially detailed in terms of critical or theoretical issues surrounding color photography. John Szarkowski's essay in William Eggleston's guide (c1976) TR654 .E35 2002 is essential reading for the student interested in the critical establishment's reluctant acceptance of color work.
The keepers of light : a history & working guide to early photographic processes.
William Crawford.
Dobbs Ferry, N.Y. : Morgan & Morgan, c1979.
318 p., [12] leaves of plates : ill. (some col.) ; 24 cm.
TR330 .C68
Still a primary source for its joining of considerable technical data on early photographic processes with the cultural history of photography, Crawford's book is an essential read for anyone interested in how photographs are made or who is beginning to work with non-silver processes. A bibliography provides additional readings. The practitioner should also consult Bea Nettles' Breaking the rules : a photo media cookbook TR350 .N47 1992, John Barnier's Coming into focus : a step-by-step guide to alternative photographic printing processes TR350 .C66 2000, and Christopher James' The book of alternative photographic processes TR350 .J35 2009.
William Crawford.
Dobbs Ferry, N.Y. : Morgan & Morgan, c1979.
318 p., [12] leaves of plates : ill. (some col.) ; 24 cm.
TR330 .C68
Still a primary source for its joining of considerable technical data on early photographic processes with the cultural history of photography, Crawford's book is an essential read for anyone interested in how photographs are made or who is beginning to work with non-silver processes. A bibliography provides additional readings. The practitioner should also consult Bea Nettles' Breaking the rules : a photo media cookbook TR350 .N47 1992, John Barnier's Coming into focus : a step-by-step guide to alternative photographic printing processes TR350 .C66 2000, and Christopher James' The book of alternative photographic processes TR350 .J35 2009.
Photography : a critical introduction.
Liz Wells, editor.
xix, 395 p. : ill. (some col.) ; 26 cm.
TR145 .P48 2009
Unlike more traditional histories of the medium, many of which assume a biographical and/or chronological imperative, Wells and her five contributors offer perspectives that fully engages the theoretical discussions of photographic seeing, the creation of photographic meaning, and the ubiquity of photographic images throughout society. Designed to serve as a textbook for contemporary students, the book is presented in seven sections, each of which is broken down by topics and subtopics. For example, Chapter 2, "Surveyors and surveyed: photography out and about," by Derrick Price, includes five topics, one of which is "Documentary: new cultures, new spaces," which includes four subtopics, including "Documentary and photojournalism in the global age." Chapter seven, "Photography in the age of electronic imaging," by Martin Lister, discusses digital technologies, techno-progressivism, media archaeology, virtual imagery, etc. A glossary, bibliography, and index complete this title, which has appeared in four editions since it was first published in 1996.
Liz Wells, editor.
xix, 395 p. : ill. (some col.) ; 26 cm.
TR145 .P48 2009
Unlike more traditional histories of the medium, many of which assume a biographical and/or chronological imperative, Wells and her five contributors offer perspectives that fully engages the theoretical discussions of photographic seeing, the creation of photographic meaning, and the ubiquity of photographic images throughout society. Designed to serve as a textbook for contemporary students, the book is presented in seven sections, each of which is broken down by topics and subtopics. For example, Chapter 2, "Surveyors and surveyed: photography out and about," by Derrick Price, includes five topics, one of which is "Documentary: new cultures, new spaces," which includes four subtopics, including "Documentary and photojournalism in the global age." Chapter seven, "Photography in the age of electronic imaging," by Martin Lister, discusses digital technologies, techno-progressivism, media archaeology, virtual imagery, etc. A glossary, bibliography, and index complete this title, which has appeared in four editions since it was first published in 1996.
Germany, the new photography, 1927-33 : documents and essays.
David Mellor, editor.
London : Arts Council of Great Britain, 1978.
136 p. : ill., facsims., ports. ; 22 cm.
TR73 .G47
This important selection of translated essays brings several significant 1920s and 30s texts to English readers. Included are Werner Graff's forward to Es kommt der neue Fotograf! (1929) TR653 .G7 1929 LCKS, Albert Renger-Patzsch's "Photography and art" (1929), Franz Roh's introduction to Foto-Auge TR653 .R64 1929 F LCKM, and others. A closing section contains five short essays on German photography of the 20s and 30s written in 1977-78. Indexed.
David Mellor, editor.
London : Arts Council of Great Britain, 1978.
136 p. : ill., facsims., ports. ; 22 cm.
TR73 .G47
This important selection of translated essays brings several significant 1920s and 30s texts to English readers. Included are Werner Graff's forward to Es kommt der neue Fotograf! (1929) TR653 .G7 1929 LCKS, Albert Renger-Patzsch's "Photography and art" (1929), Franz Roh's introduction to Foto-Auge TR653 .R64 1929 F LCKM, and others. A closing section contains five short essays on German photography of the 20s and 30s written in 1977-78. Indexed.
Photography in the modern era : European documents and critical writings, 1913-1940.
Christopher Phillips.
New York : Metropolitan Museum of Art : Aperture, c1989.
xvii, 350 p. : 1 ill. ; 24 cm.
TR185 .P5 1989
Christopher Phillips.
New York : Metropolitan Museum of Art : Aperture, c1989.
xvii, 350 p. : 1 ill. ; 24 cm.
TR185 .P5 1989
Photography between covers : interviews with photo-bookmakers.
Thomas Dugan.
Rochester, N.Y. : Light Impressions, c1979.
220 p. : ports. ; 24 cm.
TR147 .D83 1979
While the fascination with photography books seems a relatively current rage, it should be noted that photographers themselves have long appreciated the unique media qualities of the photobook. Dugan interviewed fifteen important photobook makers who contributed significantly to the development of the photobook as we know it today, including Nathan Lyons, Larry Clark, Duane Michaels, Bea Nettles, Keith Smith, Eikoh Hosoe, Emmet Gowin, and Syl Labrot. For more on photobooks, see Gerry Badger and Martin Parr's two volume survey, The photobook : a history N7433.3 .P37 2004 F V.1-2.
Thomas Dugan.
Rochester, N.Y. : Light Impressions, c1979.
220 p. : ports. ; 24 cm.
TR147 .D83 1979
While the fascination with photography books seems a relatively current rage, it should be noted that photographers themselves have long appreciated the unique media qualities of the photobook. Dugan interviewed fifteen important photobook makers who contributed significantly to the development of the photobook as we know it today, including Nathan Lyons, Larry Clark, Duane Michaels, Bea Nettles, Keith Smith, Eikoh Hosoe, Emmet Gowin, and Syl Labrot. For more on photobooks, see Gerry Badger and Martin Parr's two volume survey, The photobook : a history N7433.3 .P37 2004 F V.1-2.
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