Photography

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Providing a new perspective on many of the old stories in the history of photography, Mary Warner Marien's book is a provocative and informative read. She shows how the medium developed in various historical, economic, political, and cultural settings worldwide, and discusses the many uses to which photography has been put-from art to vernacular, documentary to photojournalism, and science to advertising.
Incorporating new research not covered in any other survey, Marien ...
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Overview

Providing a new perspective on many of the old stories in the history of photography, Mary Warner Marien's book is a provocative and informative read. She shows how the medium developed in various historical, economic, political, and cultural settings worldwide, and discusses the many uses to which photography has been put-from art to vernacular, documentary to photojournalism, and science to advertising.
Incorporating new research not covered in any other survey, Marien thoughtfully explores ideas generated by and about photography in each period, and examines photography's key role in contemporary art and today's increasing use of digital photography. With a panoply of arresting images by famous photographers such as Alfred Stieglitz, Edward Steichen, August Sander, and Margaret Bourke-White-as well as many unusual and seldom-seen pictures-the book is as enticing to look at as its original ideas are stimulating to consider.

Author Biography:

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Product Details

  • ISBN-13: 9780131832978
  • Publisher: Penguin Group (USA)
  • Publication date: 1/1/2003
  • Pages: 544
  • Product dimensions: 12.00 (w) x 9.25 (h) x 1.88 (d)

Meet the Author

Mary Warner Marien is a professor in the Department of Fine Arts at Syracuse University New York where she teaches courses on photographic history as well as on art criticism and its history. In 2008 she won an Andy Warhol Foundation Arts Writer award for her continuing work on the history and theory of documentary photography and is the author of 'Photography and its Critics' (Cambridge University Press, 1997) as well as numerous articles on the history of photography.

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Table of Contents

In This Section:

I) Brief Table of Contents

II) Detailed Table of Contents


I) Brief Table of Contents

PART ONE: PHOTOGRAPHY’S DOUBLE INVENTION

Chapter 1. The Origins of Photography (to 1839)

Chapter 2. The Second Invention of Photography (1839— 1854)

PART TWO: THE EXPANDING DOMAIN (1854—1880)

Chapter 3. Popular Photography and the Aims of Art

Chapter 4. Imaging of the Social World

Chapter 5. Science and Social Science

PART THREE: PHOTOGRAPHY AND MODERNITY (1880—1918)

Chapter 6. The Great Divide

Chapter 7. Modern Life

PART FOUR: A NEW VISION (1918—1945)

Chapter 8.Art and the Age of Mass Media

Chapter 9. Documentary Expression and Popular Photography

PART FIVE: THROUGH THE LENS OF CULTURE (1945—1975)

Chapter 10. The Human Family

Chapter 11. The Cold War Era

PART SIX: CONVERGENCES (1975 TO THE PRESENT)

Chapter 12. Globalism, Technology, and Social Change

Chapter 13. The Culture of Critique

Chapter 14. Into the Twenty-First Century


II) Detailed Table of Contents

PART ONE: PHOTOGRAPHY’S DOUBLE INVENTION

Chapter 1. The Origins of Photography (to 1839)

Before Photography

The Invention of “Photographies”

Responses to the Announcement of the Daguerreotype

The Politics of Invention

Chapter 2. The Second Invention of Photography (1839— 1854)

The Second Invention

Photography and the Sciences

Recording Events with the Camera

War and Photography

Expeditionary and Travel Photography

Portraiture and the Camera

Photography and Fiction

PART TWO: THE EXPANDING DOMAIN (1854—1880)

Chapter 3. Popular Photography and the Aims of Art

Photographic Societies, Publications, and Exchange Clubs 79

The Stereograph

The Carte-de-Visite

Art and Photography

Photography as a Fine Art

Women Behind the Camera

Chapter 4. Imaging of the Social World

War and Photography

Later Conflicts

Topographical Surveys and Photography

Chapter 5. Science and Social Science

Photography and the Social Sciences 143

Photography in Medicine and Science 154

PART THREE: PHOTOGRAPHY AND MODERNITY (1880—1918)

Chapter 6. The Great Divide

Mass Media and Mass Markets 165

The Challenge for Art Photography

Pictorialism

Chapter 7. Modern Life

The Modern City

Science and Photography

Photography, Social Science, and Exploration

War and Revolution

PART FOUR: A NEW VISION (1918—1945)

Chapter 8.Art and the Age of Mass Media

Photojournalism

Revolutionary Art: The Soviet Photograph

Dada and After

Surrealist Photography

Experimental Photography and Advertising

California Modern

Chapter 9. Documentary Expression and Popular Photography

The Origins of Documentary

Popular Science/Popular Art

World War II

War and Photography

PART FIVE: THROUGH THE LENS OF CULTURE (1945—1975)

Chapter 10. The Human Family

The Family of Man

Cultural Relativism and Cultural Resistance

Photographing the Atomic Bomb

Chapter 11. The Cold War Era

Annihilation, Alienation, Abstraction: America

Technology and Media in Postwar America

Photography in Art

The Czar’s Pantheon

PART SIX: CONVERGENCES (1975 TO THE PRESENT)

Chapter 12. Globalism, Technology, and Social Change

Photography and the Global Experience

Photography, Nature, and Science

Post-Photography

The Predicaments of Social Concern

Neutral Vision

The Look of Politics

Chapter 13. The Culture of Critique

The New Social Documentary

The Postmodern Era

Family Pictures

Nature and the Body Politic

Enter Fashion

The Passing of Postmodernism

Chapter 14. Into the Twenty-First Century

War and Photography

The Past in the Present

The Medium of the Moment

Science and Society

Pre-Production/Post-Production

Screens and Platforms

Epilogue

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Preface

Although I have been captivated by photography since childhood, the thought that I might teach and write about a subject that was a fervent personal interest of mine never occurred to me until 1984. In that year, Professor David Tatham, then Chair of the Fine Arts Department at Syracuse University, persuaded me to try a one-semester course. I have been teaching graduate and undergraduate courses in the history of photography and writing about the subject ever since.

Despite the impressive increase in college photography courses during the last decades of the twentieth century, autodidacts such as myself make up the bulk of photohistorians. Like many others, I became a photographic historian in my parents' living room, while looking at copies of Life magazine. As a group, we revel in our passionate preferences. If I thought I could get away with it, I would have filled this book with my favorite pictures, such as those that French photographer Robert Doisneau made of Paris in the 1950s and 1960s. I have not yet found a way to show Doisneau's work in my undergraduate survey, nor have I included him here, even though, in a portrait pinned above my desk, a broadly grinning Doisneau points directly at me, prompting me to keep on trying.

In writing this book, I have tried to survey photography's history in such a way that readers can gauge the medium's manifold developments, and appreciate the historical and cultural contexts in which photographers lived and worked. Some readers may long for a comprehensive taxonomy of-photography, a unified field with movements and ideas carefully delineated like kingdoms, phyla, orders, and species. Indeed, this sort ofcategorization is a practical if sometimes blunt instrument with which to create order and highlight dominant ideas and visual approaches. Yet it is crucial to remember that people living in a particular era do not synchronize their thoughts. They interpret, refine, resist, oppose, or ignore the prevalent attitudes of their time. Years of teaching have brought home to me the dangers of homogenizing subtly distinctive viewpoints or creating periods so watertight that they leave no residue in the next chapter. The Victorians did not simultaneously pull out their pocket watches on the stroke of New Year's Eve and agree that the epoch of heroic landscape photography in the American West should end promptly then and there.

My students have taught me that, contrary to conventional wisdom, they do not dislike history, but are instead hungry for it. Consequently, I have tried to sketch the political and economic events, such as wars and depressions, that shaped the circumstances in which photography was practiced, while paying special attention to the particular ideas generated by and about photography in each period. The Focus boxes in this book contain much of this material.

The short history of photography gives it a special excitement, and it is still possible to discover historically significant images at tag sales and regional museums. In the last few decades, the scope of photographic history has widened to encompass fresh materials and new analytic tools that promise the emergence of a vital interdisciplinary field. Although photography is a Western discovery, students are rightly curious about its manifestations in the wider world. To serve that interest, I have both incorporated recent research into non-Western photographers and Western visions of the non-Western world as they were directed towards science, anthropology, journalism, and art.

Yet I am mindful that comprehensive histories of photography in India and China, those countries that make up more than one-third of the world's population, have yet to be written. Moreover, the photographic archives of business and industry have scarcely been mined, and the history of advertising photography, which has shaped the modern experience internationally, remains mostly unwritten.

Influential photographers have often led long lives traversing eras during which many changes took place. For example, Alfred Stieglitz (r864-i9q.G) was born one year before the American Civil War ended, and he died one year after World War II. Having taught an introductory course, I realized that newcomers to the field appreciate an overview of individual careers such as that of Stieglitz, even if this requires occasionally disrupting the chronological order of the presentation. Hence I have included a number of Portrait boxes that concentrate the mind on certain influential photographers.

I have discovered in the classroom that today's students are puzzled by the lengthy struggle waged through the nineteenth and twentieth centuries to have photography accepted as an art form. I have narrated that contest, not simply as a large-scale attempt to achieve parity with painting, but as it relates to wider social issues, such as the ascent of a professional, moneyed middle class and the rise of consumer culture.

Globalization has encouraged a convergence and blurring of photographic genres: photojournalists show their work in art galleries; artists create new magazines to foster social change; practitioners from developing countries depict indigenous motifs from a postmodern perspective. The computer, invented, as its name suggests, to facilitate computations, has instead spun a communications web that has been investigated and refined by photographers from many fields. Along with my student-colleagues, I am intrigued by emerging technologies, and I have concluded this survey with an investigation of digital photography at the beginning of the new millennium.

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