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Theorists critique photography for objectifying its subjects and manipulating appearances for the sake of art. In this bold counterargument, John Roberts recasts photographys violating powers of disclosure and aesthetic technique as part of a complex social ontology that exposes the hierarchies, divisions, and exclusions behind appearances.
Table des matières
AcknowledgmentsIntroduction: The Social Ontology of PhotographyPart I. The Document, the Figural, and the Index1. Photography and Its Truth-Event2. The Political Form of Photography Today3. "Fragment, Experiment, Dissonant Prologue": Modernism, Realism, and the Photodocument4. Two Models of Labor: Figurality and Nonfigurality in Recent PhotographyPart II. Abstraction, Violation, and Empathy5. Photography After the Photograph: Event, Archive, and the Nonsymbolic6. Photography, Abstraction, and the Social Production of Space7. Violence, Photography, and the InhumanConclusionNotesBibliographyIndex
A propos de l'auteur
John Roberts is professor of art and aesthetics at the University of Wolverhampton and the author of The Art of Interruption: Realism, Photography, and the Everyday, The Intangibilities of Form: Skill and Deskilling in Art After the Readymade, and The Necessity of Errors. He has also contributed to the Oxford Art Journal, New Left Review, Radical Philosophy, Third Text, and Parallax.
Résumé
A passionate defense of the medium’s truth-telling powers.
Commentaire
"I know of no other work in photographic history or theory which takes such a wide survey of well-chosen examples in service of making profound and provocative sense of the whole field of photography. This book also successfully proposes a genuinely novel position from which to re-engage the most pressing, important, and persistent problems of photography." - Tom Huhn, School of Visual Arts
