Ubiquity

A critical anthology on the widespread use and influence of photography
From its invention to the internet age, photography has been considered universal, pervasive, and omnipresent. This anthology of essays posits how the question of when photography came to be everywhere shapes our understanding of all manner of photographic media. Whether looking at a portrait image on the polished silver surface of the daguerreotype, or a viral image on the reflective glass of the smartphone, the experience of looking at photographs and thinking with photography is inseparable from the idea of ubiquity—that is, the apparent ability to be everywhere at once. While photography’s distribution across cultures today is undeniable, the insidious logics and pervasive myths that have governed its spread demand our critical attention, now more than ever.

Contributors: Kate Palmer Albers (Whittier College), Ariella Aïsha Azoulay (Brown University), Maura Coughlin (Bryant University), Niharika Dinkar (Boise State University), Michelle Henning (University of Liverpool), Jacob W. Lewis (University of Rochester), Mohammadreza Mirzaei (University of California, Santa Barbara), Joseph Moore (independent artist), Derek Conrad Murray (University of California, Santa Cruz), Kyle Parry (University of California, Santa Cruz), Annie Rudd (University of Calgary), Mette Sandbye (University of Copenhagen), Catherine Zuromskis (Rochester Institute of Technology)

Ebook available in Open Access.
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).

Introduction. Ubiquity Has a History
Jacob W. Lewis and Kyle Parry
Chapter 1. Early Photography’s Presence Jacob W. Lewis
Chapter 2. Photographic Privilege at the World’s Columbian Exposition Annie Rudd
Chapter 3. Material Ecologies in the Géniaux Brothers’ Picture Archive of Brittany, ca. 1900 Maura Coughlin
Chapter 4. “Our Best Machines Are Made of Sunlight”: Photography and Technologies of Light Niharika Dinkar
Chapter 5. Managing Time: Nonhuman Animal Labor in Photographic Images Joseph Moore
Chapter 6. In 1973: Family Photography as Material, Affective History Mette Sandbye
Chapter 7. Where Is My Photo? A Study of the Representation of Tehran in the Work of Contemporary Iranian Photographers Mohammadreza Mirzaei
Chapter 8. Evidence of Feeling: Race, Police Violence, and the Limits of Documentation Catherine Zuromskis
Chapter 9. On Photographic Ubiquity in the Age of Online Self-Imaging Derek Conrad Murray
Chapter 10. Parafiction and the New Latent Image Kate Palmer Albers Chapter 11. Dispersal and Denial: Photographic Ubiquity and the Microbial Analogy Kyle Parry
Chapter 12. That Liking Feeling: Mood, Emotion, and Social Media Photography Michelle Henning
Chapter 13. “The Compass of Repair”: An Interview with Ariella Aïsha Azoulay Jacob W. Lewis & Kyle Parry
Plates

Jacob W. Lewis

Jacob W. Lewis teaches art history at the University of Rochester, New York.

Kyle Parry

Kyle Parry is assistant professor of history of art and visual culture at the University of California, Santa Cruz.