![]() ![]() Criticism is seldom neutral and this needs to be admitted by the reviewer who thanks to the widespread availability of media is no longer a connoisseur. The reviewer needs to not only respond to the artist but also to the gallery while the review also becomes a form of publicity and as Abigail Solomon-Godeau points out, “ a kind of intermediary between the frenzied pluralism of the marketplace and the sacralised judgement seat that is the museum.” There are more modernist approaches to criticism such as those suggested by Bill Jay in Occams’ Razor in which he considers the photographer, the appreciation of the work, its place in photography’s history, its context in the artist’s culture as well as light upon the creative/artistic approach all of which is actually a lot vaguer than it sounds and likely to result in an elitist view that panders to established assumptions and hierarchies. A reviewer needs to be aware of the kinds of criticism practiced such as those of the MOMA which has done much to promote photography as art. ![]() Nevertheless, the reviewer has a responsible role to play as their account can become part of the archive of the work in question. Her argument starts by outlining the difficulties involved in describing pictures by words and quotes the twentieth century photographer, Edward Weston, who wrote that “ it seems a folly to try to convey its (art ) meaning afresh by means of words.” Apart from this obvious obstacle of the theoretical approach to photography, it is often difficult for the reviewer to obtain images for use in reviews and even when they are available, they are not going to be of similar quality to the original. Publisher: Taylor & Francis Ltd ISBN: 9780415749206 Number of pages: 566 Weight: 1244 g Dimensions: 246 x 174 mm You may also be interested in.Liz Wells has written an essay about “reviewing photography” which will be considered in this blog the original occurs in the book The Photography Reader of which she is the editor. Lippard, Catherine Lutz, Roberta McGrath, Lev Manovich, Rosy Martin, Mette Mortensen, Fred Ritchin, Daniel Rubinstein, Allan Sekula, Sharon Sliwinski, Katrina Sluis, Jo Spence, Carol Squiers, Theopisti Stylianou-Lambert, Ariadne van de Ven, Liz Wells, Val Williams, Judith Williamson, Louise Wolthers and Ethan Zuckerman. Becker, John Berger, Lily Cho, Jane Collins, Douglas Crimp, Thierry de Duve, Karen de Perthuis, George Dimock, Sarah Edge, Elizabeth Edwards, Francis Frascina, Andre Gunthert, Stuart Hall, Elizabeth Hoak-Doering, Patricia Holland, bell hooks, Yasmin Ibrahim, Liam Kennedy, Annette Kuhn, Martha Langford, Ulrich Lehmann, Lucy R. ![]() Bailey, Roland Barthes, Geoffrey Batchen, David Bate, Gail Baylis, Karin E. Includes essays by: Jan Avgikos, Ariella Azoulay, David A. The depth and scope of this collection is testament to the cultural significance of photography and photographic study, with each themed section featuring an editor's introduction that sets the ideas and debates in context.Īlong with its companion volume - The Photography Reader: History and Theory - this is the most comprehensive introduction to photography and photographic criticism. Lippard, Fred Ritchin, Allan Sekula and Val Williams. The collection brings together essays by leading experts, scholars and photographers, including Geoffrey Batchen, Elizabeth Edwards, Stuart Hall, bell hooks, Martha Langford, Lucy R. With over 100 images included, the diverse essays in this collection explore key topics, such as: conflict and reportage politics of race and gender the family album fashion, tourism and surveillance art and archives social media and the networked image. The Photography Cultures Reader: Representation, Agency and Identity engages with contemporary debates surrounding photographic cultures and practices from a variety of perspectives, providing insight and analysis for students and practitioners. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |