Criticizing Photographs: An Introduction to Understanding Images

by Terry Barrett

Overview

Emphasizing the understanding of images and their influences on how they affect our attitudes, beliefs, and actions, this fully updated sixth edition offers consequential ways of looking at images from the perspectives of photographers, critics, theoreticians, historians, curators, and editors.

It invites informed conversations about meanings and implications of images, providing multiple and sometimes conflicting answers to questions such as: What are photographs? Should they be called art? Are they ethical? What are their implications for self, society, and the world? From showing how critics verbalize what they see in images and how they persuade us to see similarly, to dealing with what different photographs might mean, the book posits that some interpretations are better than others and explains how to deliberate among competing interpretations. It looks at how the worth of photographs is judged aesthetically and socially, offering samples and practical considerations for both studio critiques for artists and professional criticism for public audiences.

This book is a clear and accessible guide for students of art history, photography and criticism, as well as anyone interested in carefully looking at and talking about photographs and their effects on the world in which we live.

Product Details

ISBN-13:	9781350097377
Publisher:	Taylor & Francis
Publication date:	11/30/2020
Edition description:	6th ed.
Pages:	228
Product dimensions:	6.88(w) x 9.69(h) x (d)

About the Author

Terry Barrett is Professor Emeritus, The Ohio State University, where he taught criticism and photography. Dr. Barrett is the author of Why Is That Art?, Criticizing Art, Interpreting Art, CRITS, Making Art, and articles and chapters on teaching and learning in the arts.

Table of Contents

List of photographs ix

Photograph credits xi

Preface xiv

1 About art criticism 1

Critics are writers 1

Definitions of criticism 2

Sources of criticism 4

Kinds of criticism 5

The backgrounds of critics 6

Stances toward criticism 7

Relations between critics and artists 9

Studio critiques and art criticism 10

Criticizing criticism 11

The value of criticism 12

2 Theorizing photographs: What are they? Are they true? Are they ethical? Are they art? 14

Photography theory and practice 15

Premodernism, modernism, postmodernism, and society 16

Modernist conceptions of photography 17

Postmodernist conceptions of photography 18

Ontological concerns: What is a photograph? 20

Epistemological concerns: Are photographs true? 22

Realist and conventionalist theories of knowledge and photography 22

Photographs, truth, and credibility 23

Analog and digital manipulations of photographs 24

Photography, censorship, and control 26

Ethical concerns: Are photographs moral? 27

Marxist theory and ethical photography 29

Feminist theory and ethical photography 31

Key ideas propel feminist thinking and performance 32

Multicultural theory and ethical photography 33

Queer theory and ethical photography 36

Postcolonial theory and ethical photography 38

Aesthetic concerns: Is photography art? 40

Photography, science, and art 42

Pictorialism and purism 43

Conclusion 44

3 Describing photographs: What do I see? 45

Defining description 46

A review of Richard Avedon's "In the American West" 47

Describing subject matter 50

Describing form 55

Describing medium 57

Describing style 60

Comparing and contrasting 60

Providing internal and external sources of information 61

Describing, interpreting, and judging 62

The importance of describing 63

Principles for describing photographs 64

4 Interpreting photographs: What does it mean? 65

Two exemplary interpretations 65

About interpretation 68

To interpret 69

The objects of interpretations 72

Interpretive claims and arguments 73

Interpretive perspectives 74

Three interpretations of Eleanor 75

More interpretive strategies 76

Combinations of interpretive approaches 79

"Right" interpretations 80

Interpretations and the artist's intent 81

Interpretations and feelings 82

The community of interpreters 83

5 Types of photographs 84

Categories of photographs 84

Newer categories that require justifications 86

Descriptive explanatory photographs 86

Interpretive photographs 93

Ethically evaluative photographs 98

Aesthetically evaluative photographs 103

Theoretical photographs 107

The categories are overlapping 112

6 Photographs and contexts 113

Internal context 113

Original context 114

External context 115

External contexts and connotations 117

Interpretation- of Barbara Kruger's Untitled ("Surveillance") with contextual information 118

"Surveillance" and internal context 119

"Surveillance" and original context 119

"Surveillance" and external context 122

Barbara Kruger's Untitled ("Surveillance") and the categories 125

Descriptive explanatory photographs 125

Interpretive photographs 125

Ethically evaluative photographs 126

Aesthetically evaluative photographs 126

Theoretical photographs 127

The interpretive process: A summary 127

Principles for interpreting photographs 128

7 Judging photographs: Is it good? 130

Examples of judgments 131

Positive judgments 131

Negative judgments 131

Opposing judgments 132

Judgments, reasons, and criteria 132

Different criteria 133

Realism 134

Expressionism 134

Formalism 135

Other criteria 135

Choosing among criteria 136

Differing judgments 137

Judgments are arguments 137

Reappraisals 138

Judgments and preferences 138

Intentionalism and judgments 139

Judgments of Robert Mapplethorpe's photographs 139

Conclusion 144

Principles for judging photographs 144

8 Writing and talking about photographs 146

Writing about photographs 146

Observing and taking notes 146

Quick-writes and careful-writes 147

Students' interpretive writings 149

Judging photographs 151

Writing criteria statements 152

Three student essays about Immediate Family by Sally Maim 153

Writing an artist's statement 157

Processes of writing 159

Talking about photographs 162

Studio critiques 164

Kinds of critiques 166

Intentionalist critiques 166

Descriptive critiques 167

Interpretive critiques 168

Judgmental critiques 169

Theoretical critiques 170

Suggestions for contributing to successful critiques 171

Principles for effective critiques 173

Notes 175

Bibliography 188

Index 202

Editorial Reviews

Focusing on writings rather than images, Barrett (art education, Ohio State U.) shows beginning and experienced photography students how to use criticism to further their own understanding of photography. The chapters focus on description, interpretation, evaluation, and theory and provide a sound basis for anyone to begin to look at photographs with a more critical eye, and to appreciate descriptions of exhibits and shows. Annotation c. Book News, Inc., Portland, OR (booknews.com)

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