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The status of photographs in the history of museum collections is a complex one. From its very beginnings the double capacity of photography - as a tool for making a visual record on the one hand and an aesthetic form in its own right on the other - has created tensions about its place in the hierarchy of museum objects. While major collections of 'art' photography have grown in status and visibility, photographs not designated 'art' are often invisible in museums. Yet almost every museum has photographs as part of its ecosystem, gathered as information, corroboration or documentation, shaping the understanding of other classes of objects, and many of these collections remain uncatalogued and their significance unrecognised. This volume presents a series of case studies on the historical collecting and usage of photographs in museums. Using critically informed empirical investigation, it explores substantive and historiographical questions such as what is the historical patterning in the way photographs have been produced, collected and retained by museums? How do categories of the aesthetic and evidential shape the history of collecting photographs? What has been the work of photographs in museums? What does an understanding of photograph collections add to our understanding of collections history more broadly? What are the methodological demands of research on photograph collections? The case studies cover a wide range of museums and collection types, from art galleries to maritime museums, national collections to local history museums, and international perspectives including Cuba, France, Germany, New Zealand, South Africa and the UK. Together they offer a fascinating insight into both the history of collections and collecting, and into the practices and poetics of archives across a range of disciplines, including the history of science, museum studies, archaeology and anthropology.
Almost all museums hold photographs in their collections, and museum professionals and their audiences engage with photographs in a myriad of ways. Yet despite some three decades of critical museology and photographic theory, and an extensive debate on the politics of representation, outside art museums, almost no critical attention has been given specifically to the roles, purposes and lives of these photographs within museums. This book brings into focus the ubiquitous yet entirely unconsidered work that photographs are put to in museums. The authors' argument is that there is an economy of photographs in museums which is integral to the processes of the museum, and integral to the understanding of museums. The international contributors, drawn from curators and academics, reflect a range of visual and museological expertise. After an introduction setting out the range of questions and problems, the first part addresses broad curatorial strategies and ways of thinking about photographs in museums. Shifting the emphasis from curatorial practices and anxieties to the space of the gallery, this is followed by a series of case studies of exhibitionary practices and the museum strategies that support them. The third section focuses on the role of photographs in the museum articulation of ’difficult histories’. A final section addresses photograph collections in a digital environment. New technologies and new media have transformed the management, address and purposing in photographs in museums, from cataloguing practices to streaming on social media. These growing practices challenge both traditional hierarchies of knowledge in museums and the location of authority about photographs. The volume emerges from PhotoCLEC, a HERA funded project on museums and the photographic legacy of the colonial past in a postcolonial and multicultural Europe.
The first book on the Mütter Museum contain artful images of the museum's fascinating exhibits shot by contemporary fine art photographers. Here, the focus is on the museum's archive of rare historic photographs, most of which have never been seen by the public. Featured are poignant, aesthetically accomplished works ranging from Civil War photographs showing injury and recovery, to the ravages of diseases not yet conquered in the 19th century, to pathological anomalies, to psychological disorders. Many were taken by talented photographers between the 1860s and the 1940s as records for physicians to share among colleagues and to track patients' conditions, and demonstrate various techniques used in medical photography including the daguerreotype, micrography, X ray, and traditional portrait-style photography. As visual documents of what humans endured in the face of limited medical knowledge, these extraordinary and haunting photographs demonstrate how far medicine has advanced.
According to one of Julia Margaret Cameron’s great-nieces, “we never knew what Aunt Julia was going to do next, nor did anyone else.” This is an accurate summation of the life of the British photographer (1815–1879), who took up the camera at age forty-eight and made more than twelve hundred images during a fourteen-year career. Living at the height of the Victorian era, Cameron was anything but conventional, experimenting with the relatively new medium of photography, promoting her own art though exhibition and sale, and pursuing the eminent personalities of her age—Alfred Tennyson, Charles Darwin, Thomas Carlyle, and others—as subjects for her lens. For the first time, all known images by Cameron, one of the most important nineteenth-century artists in any medium, are gathered together in a catalogue raisonné. In addition to a complete catalogue of Cameron’s photographs, there is information on her life and times, initial experiments, artistic aspirations, techniques, small-format images, albums, commercial strategies, sitters, and sources of inspiration. Also provided are a selected bibliography of publications on Cameron, a list of exhibitions of her work held both in her time as well as our own, and a summary of important collections where her pictures can be found.
A new ed. of Struth's "Museum photographs", adding 26 additional images which include pictures of artworks at their original locations.
A source for locating works by particular photographers, this research index describes the holdings of American photographic collections, large and small. This third, enlarged edition is organized in two sections: the collections listing is arranged geographically and includes the name of the collection, contact information, and holdings information for 585 collections; the photographers listing lists 65,000 photographers alphabetically by name, significant dates when available, and references to collections that include the photographers work. Encompassing collections in museums, university and public libraries, art galleries, newspaper and magazine archives, historical societies, and other institutions, Index to American Photographic Collections provides a comprehensive source of information.
"Commissioned in observance of the one hundredth anniversary of the establishment of the University of California, Fiat Lux celebrates that event with a perceptive, artistic statement about the University itself, and about its reach into the lives and surroundings of the people it serves."--Cover.
Decolonising the Camera trains Mark Sealy's sharp critical eye on the racial politics at work within photography, in the context of heated discussions around race and representation, the legacies of colonialism, and the importance of decolonising the university. Sealy analyses a series of images within and against the violent political reality of Western imperialism, and aims to extract new meanings and develop new ways of seeing that bring the Other into focus. The book demonstrates that if we do not recognise the historical and political conjunctures of racial politics at work within photography, and their effects on those that have been culturally erased, made invisible or less than human by such images, then we remain hemmed within established orthodoxies of colonial thought concerning the racialised body, the subaltern and the politics of human recognition. With detailed analyses of photographs - included in an insert - by Alice Seeley Harris, Joy Gregory, Rotimi Fani-Kayode and others, and spanning more than 100 years of photographic history, Decolonising the Camera contains vital visual and written material for readers interested in photography, race, human rights and the effects of colonial violence.
Originally published in 1973, this marvelous collection of photographs with accompanying texts by the revered late Museum of Modern Art photography curator John Szarkowski has long been recognized as a classic. Reissued in 1999-with new digital duotones-this volume is now available to a new generation of readers. "This is a picture book, and its first purpose is to provide the material for simple delectation," says Szarkowski in his introduction to this first survey of The Museum of Modern Art's photography collection. A visually splendid album, the book is both a treasury of remarkable photographs and a lively introduction to the aesthetics and the historical development of photography. Since 1930, when the Museum accessioned its first photograph, it has assembled an extraordinary and wide-ranging collection of pictures for preservation, study and exhibition. Among the outstanding figures represented here are Hill and Adamson, Cameron, O'Sullivan, Atget, Stieglitz, Steichen, Strand, Weston, Kertesz, Evans, Cartier-Bresson, Lange, Brassai, Ansel Adams, Shomei Tomatsu, Frank, Arbus and Friedlander. Some of these photographs are classics, familiar and well-loved favorites, many are surprising, little-known works by the masters of the art.