How to say goodbye to the 20th century discourse on photography:
This small volume is a thoughtful meditation on how photography presents deep problems, and resources, for thinking about our relationships with images, the world, and each other. Although keenly attuned to the tradition of epistemological and political skepticism in the discourse on photography, that attitude is complicated by another, much more difficult commitment: love.
This magnificent volume is a collaboration of the Princeton University Art Museum, the Museum of Fine Arts, Boston, and Yale University Press.
From the Great Depression to the Vietnam War, the vast majority of the photographs printed and consumed in the United States appeared on the pages of illustrated magazines. Offering an in-depth look at the photography featured in Life magazine throughout its weekly run from 1936 to 1972, this volume examines how the magazine’s use of images fundamentally shaped the modern idea of photography in the United States. . . . Drawing on unprecedented access to Life magazine’s picture and paper archives, as well as photographers’ archives, this generously illustrated volume presents previously unpublished materials, such as caption files, contact sheets, and shooting scripts, that shed new light on the collaborative process behind many now-iconic images and photo-essays.
(Full disclosure: one of the entries is by Hariman and Lucaites.)
Photography and Its Publics brings together leading experts and emerging thinkers to consider the special role of photography in shaping how the public is addressed, seen and represented. . . . As they address key themes including the referential and imaginative qualities of photography, the transnational circulation of photographs, online publics, social change, violence, conflict and the ethics of spectatorship, the authors provide new insight into photography’s vital role in defining public life.
This fine collection ranges from Weimar Germany to the war in Syria, from national controversies to transnational networks, and from social movements to social media.
The volume is dedicated to Andrea Noble, who would have been one of the editors but for her untimely death. An afterword celebrates her sensitive and courageous scholarship.
(Full disclosure: one of the chapters is by Hariman and Lucaites.)
With newly commissioned essays by some of the leading writers on photography today, this companion tackles some of the most pressing questions about photography theory’s direction, relevance, and purpose. (Full disclosure: one of the chapters is by Hariman and Lucaites.) Frankly, it’s a splendid volume. And pricey in the cloth edition, but it also is available at a much lower price for Kindle.
“Lookout America! brings together John Ford, Marilyn Monroe, and all manner of Cold War generals and operatives in what amounts to Dr Strangelove: The Documentary. Prodigiously researched, beautifully illustrated and written, and insightfully theorized, this book feels frighteningy current and necessary.” (Nicholas Mirzoeff, New York University)
The 8th William A. Kern Conference on Visual Communication
Rochester Institute of Technology
April 26-28, 2018
Design, Sound and Vision in Midcentury Media
Call for Papers
The 2018 Kern conference will be focused on the topic of “midcentury media.” The traditional focus of the Kern conference is visual communication, and this year’s aims to reveal how the visual intersects with broader dimensions of media, such as design, literature, and music. Further, we want to do some ‘looking backward’ to historicize visual culture by focusing on the midcentury period, roughly between the 1940s and the 1960s. We are looking for papers on topics of how media technologies were introduced, visualized and promoted; how design, photography, print, and other visual technologies created glamourous imagery, often of midcentury media objects themselves; how the midcentury literary and popular imagination elicited and relied upon visual displays and representations; and how Cold War anxieties, ideal lifestyles, and optimism for the future impacted midcentury media. We aspire to promote efforts to think about design and modernism within a larger frame of visual culture. We are particularly interested in under researched areas, case studies, and figures.
We encourage submissions that:
• Re-imagine and reassess midcentury media
• Explore the continuing significance of midcentury aesthetic production and material culture, including graphic design, vinyl records, radio, television, film, popular media, and ephemera
• Interrogate identity – race, class, gender – and ideology
• Integrate approaches to communication, design, history, media studies, and visual culture
Preliminary list of invited speakers:
Greg Barnhisel, Department of English, Duquesne University
Michael Brown, Department of History, Rochester Institute of Technology
John Covach, Institute for Popular Music, University of Rochester
Keir Keightley, Faculty of Media & Information Studies, Western University, Canada
Kristin L. Matthews, Department of English, Brigham Young University
Monica Penick, School of Architecture, University of Texas at Austin
Tom Perchard, Department of Music, Goldsmiths, University of London
R. Roger Remington, College of Imaging Arts and Sciences, Rochester Institute of Technology
Penny M. Von Eschen, Department of History, Cornell University
Following in the tradition of Kern conferences, we plan a rich program of interdisciplinary scholarship and conversation.
Conference Chairs: Jonathan E. Schroeder, William A. Kern Professor of Communications, Rochester Institute of Technology and Janet Borgerson, City, University of London
CALL FOR PAPERS
International conference on IMAGE, HISTORY AND MEMORY
Warsaw, 6–8 December 2017
The goal of this conference is to promote an interdisciplinary discussion of the relationships between image, history and memory. We welcome paper proposals from the fields of art history, history, sociology, cultural studies, political science and others. The papers should address images in their various roles: as witnesses to history, as means of materializing memories, as active creators of history or as producers of the contents of memory. Suggestive images can provoke historical events, just as they can influence memory. The latter role particularly affects those who did not directly witness historical events but became heirs to instances of post-memory. Thus, when members of subsequent Soviet generations ‘recalled’ the October Revolution, writes Susan Buck- Morss, what they really remembered were images from Sergei Eisenstein’s films. Thus, the arrangement of the three concepts of interest to the conference—image, history and memory—is circular rather than linear. We want to focus on the complexity of the triangular dynamics between historical narratives, their visualization and memories. These relationships are important to any effort to understand and describe interactions between history and biography, and the individual and collective processes and mechanisms of remembrance.
The conference discussion will focus on these issues from a regional perspective that will highlight questions about ways in which historical images fit into the dynamics of remembrance in Central and Eastern Europe, but they will make references to other historical, political and cultural regions of Europe and of the world.
Scholars of various disciplines are invited to submit paper proposals addressing, but not limited to, the following themes: A. Remembrance, history, image: Theories and cognitive perspectives; B. Image and historiosophy: Artists’ reflections on history and memory; C. Images of history vs. remembrance; D. Monuments as images of memory; E. Image in popular culture and the new media: Medium of memory, fabric of history; F. Film: Medium of memory, fabric of history.
To apply to present a paper at the conference, please send (a) your abstract (300 words) along with your presentation title and if possible the panel topic, as well as (b) a short bio to: <email@example.com>.
More information is available here and here. Deadline for submissions: 15 July 2017. (NB: Late submissions are possible; contact me at <firstname.lastname@example.org> if interested. Full disclosure: I’m a keynoter for the conference.)
The list of the chosen participants will be announced by the end of September 2017. There is no fee for taking part in the conference.
Organisers: European Network Remembrance and Solidarity (ENRS); Institute of Arts History, Adam Mickiewicz University in Poznań; History Department, Adam Mickiewicz University in Poznań; Institute of Art and Visual History, Chair of Art History of Eastern and East Central Europe, Humboldt University of Berlin; Social Memory Laboratory, Institute of Sociology, University of Warsaw.
Partners: Academy of Fine Arts in Warsaw; The Committee on Art Studies of the Polish Academy of Sciences.