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"The compulsion to dwell on history--on how it is recorded, stored, saved, forgotten, narrated, lost, remembered, and made public--has been at the heart of artists' engagement with the photographic medium since the late 1960s. Uncertain Histories considers some of that work, ranging from installations that incorporate vast numbers of personal and vernacular photographs by Christian Boltanski, Dinh Q. Lê, and Gerhard Richter to confrontations with absence in the work of Joel Sternfeld and Ken Gonzales-Day. Projects such as these revolve around a photographic paradox that hinges equally on knowing and not knowing, on definitive proof coupled with uncertainty, on abundance of imagery being met squarely with its own inadequacy. Photography is seen as a fundamentally ambiguous medium that can be evocative of the historical past while at the same time limited in the stories it can convey. Rather than proclaiming definitively what photography is, the work discussed here posits photographs as objects always held in suspension, perpetually oscillating in their ability to tell history. Yet this ultimately leads to a new kind of knowledge production: uncertainty is not a dead end but a generative space for the viewer's engagement with the construction of history"--Provided by publisher.

Photographic criticism --- Photography, Artistic --- Art and history --- History in art --- Historical art --- History and art --- History --- Artistic photography --- Photography --- Photography, Pictorial --- Pictorial photography --- Art --- Photography criticism --- Criticism --- Aesthetics

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Artistic photography --- Artistieke fotografie --- Fotografie [Kunst] --- Kunstfotografie --- Photographie artistique --- Photography [Artistic ] --- Photography, Artistic --- -Artistic photography --- Photography --- Photography, Pictorial --- Pictorial photography --- Art --- Addresses, essays, lectures --- Aesthetics --- -Addresses, essays, lectures --- CDL --- 77.01 --- Photographic criticism --- Photography criticism --- Criticism

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In the final stages of his career, Roland Barthes abandoned his long-standing suspicion of photographic representation to write Camera Lucida, at once an elegy to his dead mother and a treatise on photography. In Writing the Image After Roland Barthes, Jean-Michel Rabaté and nineteen contributors examine the import of Barthes's shifting positions on photography and visual representation and the impact of his work on current developments in cultural studies and theories of the media and popular culture.

Photographic criticism --- Photography --- Philosophy. --- Photography criticism --- Criticism --- Philosophy --- Barthes, Roland --- Criticism and interpretation. --- Barthes, R. --- Барт, Ролан --- Bart, Rolan --- Baruto, Roran --- בארת, רולאן --- بارت، رولان --- ロラン・バルト --- Luolan Bate --- 羅蘭・巴特 --- Cultural Studies. --- Literature.

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Photography --- Photographic criticism. --- Photographic criticism --- Visual Arts --- Art, Architecture & Applied Arts --- Photography criticism --- Criticism --- Philosophy. --- Philosophy --- Barthes, Roland. --- Barthes, Roland --- Barthes, R. --- Барт, Ролан --- Bart, Rolan --- Baruto, Roran --- בארת, רולאן --- بارت، رولان --- ロラン・バルト --- Luolan Bate --- 羅蘭・巴特

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La photographie est pour Cartier-Bresson un moyen parmi d'autres d'exercer son intelligence du monde, de créer un "imaginaire d'après nature". Cet "outil" est toujours resté en relation avec sa pratique première de la peinture et du dessin. L'art du tir à l'arc zen, auquel il se réfère, vient insérer la photographie dans un cadre symbolique original qui couronne une réflexion profonde, invalidant les distinctions propres à la culture occidentale entre discipline physique, exercice spirituel et activité artistique. Le photographe-archer devient ainsi maître de l'instant en pratiquant un art sans art. Henri Cartier-Bresson apporte son éthique au reportage, faisant du photographe le Seigneur de l'occasion, le Maître des coïncidences. Puis, les noeuds qu'il a si vivement ourdis avec le temps grâce à l'outil photographique seront patiemment renoués avec le dessin. En présentant au lecteur à la fois les peintures, les dessins et les photographies d'Henri Cartier-Bresson, cet ouvrage propose un regard neuf tant sur son oeuvre que sur l'art des reporters photographes dont il se réclame.

Photographic criticism --- 77.071 CARTIER-BRESSON --- CDL --- Photography --- Photography criticism --- Criticism --- Cartier-Bresson, Henri, --- Bresson, Henri Cartier-, --- Criticism and interpretation. --- Cartier-Bresson, Henri --- Criticism and interpretation --- France --- 790 --- photographie --- kunstenaars --- artistes --- Photographies. --- Critique et interprétation.