Transatlantic Photographic Practices over the Long Nineteenth Century
Edited by Geoff Bender and Rasmus S. Simonsen
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Edited volume - paperbackVIEW Edited volume - ebook
Extensive variety of material approaches to the study of photography and photographic practices
There is little dispute that photography is a material
practice, and that the photograph itself is ineluctably material. And yet
“matter,” “material,” and “materiality” have proven to be remarkably elusive
terms of inquiry, frequently producing studies that are disparate in scope,
sharing seemingly little common ground. Although the wide methodological range
of materialist study can be dizzying, it is this book’s contention that that
multiplicity is also the field’s greatest asset, keeping materialist inquiry
enduringly vibrant—provided that varying methods are in close enough proximity
to converse. Photography’s
Materialities orchestrates one such conversation. Juxtaposing the insights
of theorists like Lacan, Benjamin, and Latour beside close studies of crime,
spirit, and composite photography, among others, this collection aims for a
productive synergy, one capacious enough to span transatlantic spaces over the
long nineteenth century.
Contributors: Kris Belden-Adams (University of Mississippi), Maura Coughlin (Bryant University), David LaRocca (independent scholar), Jacob W. Lewis (University of Rochester), Mary Marchand (Goucher College), Zachary Tavlin (Art Institute of Chicago), Christa Holm Vogelius (University of Copenhagen)
This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Format: Edited volume - paperback
Size: 230 × 170 mm
Publication: June 15, 2021
Rasmus R. Simonsen is senior lecturer in the Communication Design & Media program at the Copenhagen School of Design and Technology.
Thy Phu, University of Toronto Scarborough
Photography’s Materialities makes a significant intervention into studies of visual culture by bringing materiality and consequentiality to the forefront of scholarly concern. Bender and Simonsen should be applauded for assembling a wide-ranging body of research that productively explores what diverse materialist methodologies can do for our socio-techno-historical understanding of photography. With a concerted focus on the real, this collection is sure to open up novel and promising avenues of inquiry in visual studies.
Laurie E. Gries, University of Colorado at Boulder
In focusing on the material constituents of
photography, this book has its finger firmly on the pulse of contemporary
scholarship, offering a political economy of the ’thingness’ of the photograph
and with it a new understanding of the role of materiality in modern life.
Geoffrey Batchen, University of Oxford