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Zusatztext The reader comes away from the texts with a number of useful insights. Images and—more specifically—objects presented through the category of art did not just make beauty and philosophy possible in a medium closely associated with the mechanical and the functional. Beauty, in other words, often served—intentionally or not—as a fig leaf in photographs with other agendas seemingly well outside the realm of art. Establishing thisfact, along with making fundamental additions to our historical knowledge of photography,represents the volume’s primary contribution. Informationen zum Autor Dr Juliet Hacking Subject leader, Photographic Studies, Sotheby’s Institute of Art, London. Previously the Head of the Photography Department at Sotheby’s auction house. Publications: Lives of the Great Photographers (Thames & Hudson 2015), Photography: The Whole Story (Thames & Hudson 2012) [as editor], and Princes of Victorian Bohemia: Photographs by David Wilkie Wynfield (NPG & Prestel, 2000). Currently writing Art Photography & the Market for Lund Humphries. Dr Joanne Lukitsh Professor, History of Art, Massachusetts College of Art and Design. She has written extensively on the work of Julia Margaret Cameron, and is working on a new monograph on the photographer, Julia Margaret Cameron and the Victorian Art of Photography (1850s to now). Lukitsh has also written on photographic reproductions of the sculpture of Thomas Woolner for the Henry Moore Institute (2005), Alfred Stieglitz’s early photographs of New York City (2006), and on the landscape photographs of the contemporary American photographer Laura McPhee (2008). She is the recipient of grants from the National Endowment for the Arts, and the Paul Mellon Centre. Klappentext Photography, both in the form of contemporary practice and that of historical material, now occupies a significant place in the citadels of Western art culture. It has an institutional network of its own, embedded within the broader art world, with its own specialists including academics, critics, curators, collectors, dealers and conservators. All of this cultural activity consolidates an artistic practice and critical discourse of photography that distinguishes what is increasingly termed 'art photography' from its commercial, scientific and amateur guises. But this long-awaited recognition of photography as high art brings new challenges. How will photography's newly privileged place in the art world affect how the history of creative photography is written?Modernist claims for the medium as having an aesthetic often turned on precedents from painting. Postmodernism challenged a cultural hierarchy organized around painting. Nineteenth-century photographs move between the symbolic spaces of the gallery wall and the archive: de-contextualised for art and re-contextualised for history. But what of the contemporary writings, images, and practices that negotiated an aesthetic status for 'the photographic'? Photography and the Arts revisits practices both celebrated and elided by the modernist and postmodernist grand narratives of art and photographic history in order to open up new critical spaces. Written by leading scholars in the fields of photography, art and literature, the essays examine the metaphorical as well as the material exchanges between photography and the fine, graphic, reproductive and sculptural arts.The essays in this volume, written by leading scholars, bring together the latest research on the dynamic interplay between photography and the arts in the nineteenth century. Zusammenfassung Photography, both in the form of contemporary practice and that of historical material, now occupies a significant place in the citadels of Western art culture. It has an institutional network of its own, embedded within the broader art world, with its own specialists including academics, critics, curators,...
