Photography’s Materialities

Geoff Bender • ebook • pdf

• Samenvatting
  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.
  
  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)
• Productinformatie
  Binding : PDF
  Auteur : Geoff Bender
  Bestandstype : PDF
  Distributievorm : Ebook (digitaal)
  Aantal pagina's : Afhankelijk van e-reader
  Beveiliging : Digitaal watermerk (social DRM)   Informatie 
  Uitgeverij : Leuven University Press
  ISBN : 9789461663764
  Datum publicatie : 04-2021
  
• Inhoudsopgave
  Acknowledgements Introduction:Photography’s Materialities Geoff Bender and Rasmus R. Simonsen Section I: The Materialities of Process and Product Silver Salts: Realism and Materiality in a French photograph c.1900 Maura Coughlin Early Photogravure & the Material Unconscious Jacob W. Lewis Section II: Material Remediations Every Contact Leaves a Trace: Edith Wharton and the Forensic Imagination Mary Marchand Structuring Desire in Thomas Eakins’s Painting and Photography Rasmus R. Simonsen The Multilingualism of Jacob Riis’s Imagetext Christa Holm Vogelius Section III: Human-Posthuman Materialities Composita, the “Mascot” of the Class of 1886: A (Fictional) Picture of “Real” Victorian-era College Sisterhood and Social-Caste Expectations Kris Belden-Adams “A Single Multiple Image”: The Visual Rhetoric of An Ethiopian Chief Geoff Bender Spirit Photography & Rogue Objects Zachary Tavlin Object Lessons: What Cyanotypes Teach Us About Digital Media David LaRocca Afterword Rasmus R. Simonsen and Geoff Bender Gallery with Color Plates Contributors Index
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