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Der nationale Mythos "Amerika" manifestiert sich maßgeblich über ihre Fotografien, die als "Bilderwelt" unsere Vorstellungen prägen. Im Zentrum des Buches stehen der französische Fotograf Henri Cartier-Bresson und die Schriftstellerin Susan Sontag. Beide werden hinsichtlich ihres Verhältnisses zur "Amerikanischen Fotografie" untersucht, ein Feld der US-amerikanischen Kunst- und Kulturgeschichte, in dem der nationale Mythos der Vereinigten Staaten (modern, demokratisch, technologisch avantgardistisch) mit dem Medium Fotografie untrennbar miteinander verwoben wird. Das Buch zeichnet auf der einen Seite nach, warum Cartier-Bressons Bilder von Amerika nicht als Teil der "Amerikanischen Fotografie" gewertet werden, und auf der anderen die Rolle, die Susan Sontags Essays Über Fotografie in der Verknüpfung von Nation und Medium zukommt.

Photograph collections

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This book is an investigation of the widely overlooked photographic style of pictorialism in the American West between 1900 and 1950 and argues that western pictorialist photographers were regionalists that had their roots in the formidable photographic heritage of the nineteenth-century American West. This book is an investigation of the widely overlooked photographic style of pictorialism in the American West between 1900 and 1950 and argues that western pictorialist photographers were regionalists that had their roots in the formidable photographic heritage of the nineteenth-century West. Driven by a wealth of textual and visual primary sources, the book addresses the West's relationship with the eastern centers of art in the early century, the diversity of practitioners such as women, Japanese Americans, Indigenous Americans, western rural workers, etc., and the style's final demise as it related to the modernism of Group F.64. Couched in the rhetoric of regionalism; it is a refreshing and innovative approach to an overlooked wealth of American cultural production.

Art History --- Cultural History --- Literature and Cultural Studies --- Photograph Collections

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"What are photographs 'doing' in museums? Why are some photographs valued and others not? Why are some photographic practices visible and not others? What value systems and hierarchies do they reflect? What Photographs Do explores how museums are defined through their photographic practices. It focuses not on formal collections of photographs as accessioned objects, be they 'fine art' or 'archival', but on what might be termed 'non-collections': the huge number of photographs that are integral to the workings of museums yet 'invisible', existing outside the structures of 'the collection'. These photographs, however, raise complex and ambiguous questions about the ways in which such accumulations of photographs create the values, hierarchies, histories and knowledge-systems, through multiple, folded and overlapping layers that might be described as the museum's ecosystem. These photographic dynamics are studied through the prism of the Victoria and Albert Museum, London, an institution with over 150 years' engagement with photography's multifaceted uses and existences in the museum. The book differs from more usual approaches to museum studies in that it presents not only formal essays but short 'auto-ethnographic' interventions from museum practitioners, from studio photographers and image managers to conservators and non-photographic curators, who address the significance of both historical and contemporary practices of photography in their work. As such this book offers an extensive and unique range of accounts of what photographs 'do' in museums, expanding the critical discourse of both photography and museums".--UCL Press

Museology --- Photography --- photography [process] --- museology --- Museums and photography. --- Photographs as information resources. --- Victoria and Albert Museum --- Photograph collections.

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Atiqput is the first book-length study of Project Naming, the photo-based history research initiative established by the Inuit school Nunavut Sivuniksavut in collaboration with Library and Archives Canada. Through oral testimony and photography, Atiqput rewrites settler societies' historical record and challenges a legacy of colonial visualization.

Inuit. --- Inuit --- Photograph collections. --- Boats. --- Library and Archives Canada --- Canada. --- Elders. --- Indigenous. --- Inuktut. --- Nunangat. --- Nunavut. --- Unidentified. --- anonymous. --- archival practice. --- archive. --- body. --- community engagement. --- decolonizing. --- history. --- homelands. --- identification. --- intergenerational. --- land. --- methodologies. --- namelessness. --- naming. --- oral. --- participatory. --- photography. --- spirits. --- testimony. --- toponymy. --- visual culture.