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Picture industry : a provisional history of the technical image, 1844-2018

Contributor(s): Publisher: [Feldmeilen, Switzerland] : LUMA Foundation ; [Annandale-on-Hudson, New York] : Center for Curatorial Studies, Bard College, [2018]Distributor: New York, NY : Distributed by ARTBOOK/D.A.P.Copyright date: ©2018Description: 863 pages : illustrations (chiefly color), facsimiles, portraits, photographs ; 25 cmISBN:
  • 9783037645024
  • 3037645024
Other title:
  • Provisional history of the technical image, 1844-2018
Subject(s): Genre/Form: LOC classification:
  • TR350 .P53 2018
  • TR6.F82 A757 2018
Contents:
Foreword / Maja Hoffmann and Tom Eccles -- Introduction: The commons in the age of its technological reproducibility / Walead Beshty -- Taken from here to where it came from and taken to a place and used in such a manner that it can only remain as a representation of what it was where it came from (1980) / Lawrence Weiner -- Introductory remarks and selected plates from Pencil of Nature (1844-46) / William Henry Fox Talbot -- A scene in a library: The first photographically illustrated book (1998) / Carol Armstrong -- The stereoscope and stereograph (1859) / Oliver Wendell Holmes -- Selections from mechanism of human facial expression (1862) / Guillaume-Amant Duchenne de Boulogne -- Photographs of the high Rockies in Harper's New Monthly Magazine, Vol. CCXXXII, No. 39, September 1869 / John Samson [likely a pseudonym of Timothy H. O'Sullivan] -- Photography's discursive spaces (1986) / Rosalind E. Krauss -- Naming the view (1990) / Alan Trachtenberg -- United States Geological Exploration of the Fortieth Parallel, volume III: Mining industry (1870) / James D. Hague and Clarence King --
Summary: Curated by artist Walead Beshty, the exhibition Picture Industry reflects upon transformations in the production and distribution of photographic images as realized through its varied constructions of the corporeal, from its origin as a scientific tool and a means of cultural investigation to its phenomenological effects on the viewer. The exhibition complexifies traditional accounts of the medium, drawing on its application within science and the humanities to contemporary art, and includes works and photographic documents by over 70 artists and practitioners spanning the late 19th century to the present. It posits a provisional, alternative history of the optical image, breaking with both the technologically deterministic approach of aesthetic formalism, and the semiotic fixations of postmodernism, and on this basis reflects anew on the contemporary condition of image production. Picture Industry considers not only the materiality of images and the technologies that form their reception, but also the conflicted social history that lies under their surfaces and shapes our complex contemporary image world.
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Book Book Whitecliffe Library General Shelves General TR 350 PIC (Browse shelf(Opens below)) Available 0013469

On occasion of the exhibition "Picture Industry" held at Luma Arles, October 12, 2018-January 6, 2019. Exhibition was previously shown in different form at Luma Arles, July 14-October 24, 2016 and at the Hessel Museum of Art, Bard College Center for Curatorial Studies, June 24-December 15, 2017.

Includes bibliographical references and index.

Foreword / Maja Hoffmann and Tom Eccles -- Introduction: The commons in the age of its technological reproducibility / Walead Beshty -- Taken from here to where it came from and taken to a place and used in such a manner that it can only remain as a representation of what it was where it came from (1980) / Lawrence Weiner -- Introductory remarks and selected plates from Pencil of Nature (1844-46) / William Henry Fox Talbot -- A scene in a library: The first photographically illustrated book (1998) / Carol Armstrong -- The stereoscope and stereograph (1859) / Oliver Wendell Holmes -- Selections from mechanism of human facial expression (1862) / Guillaume-Amant Duchenne de Boulogne -- Photographs of the high Rockies in Harper's New Monthly Magazine, Vol. CCXXXII, No. 39, September 1869 / John Samson [likely a pseudonym of Timothy H. O'Sullivan] -- Photography's discursive spaces (1986) / Rosalind E. Krauss -- Naming the view (1990) / Alan Trachtenberg -- United States Geological Exploration of the Fortieth Parallel, volume III: Mining industry (1870) / James D. Hague and Clarence King -- Report on the United States and Mexican Boundary Survey, Vol. 1 (1857) / William H. Emory -- Prefatory note and preface to United States Geological Survey of the Territories, descriptive catalogue of Photographs of North American Indians (1877) / Ferdinand Vandeveer Hayden and William Henry Jackson -- Colorchromes from the Detroit Photographic Company (1892-1903) / William Henry Jackson -- Carte de visite (1864) / Sojourner Truth -- Introduction to Enduring Truths: Sojourner's Shadows and Substance (2015) / Darcy Grimaldo Grigsby -- The golden Caribbean, Vol. II, No. 1, January 1904 / United Fruit Company -- The evidence of things not photographed: Slavery and historical memory in the British West Indies (2011) / Krista Thompson -- The other half and how they live: Story in pictures [Reconstruction of a magic lantern slide lecture presented at the Sixth Annual Convention of Christian Workers] (1891) / Jacob Riis -- How the other half lives: Studies among the tenements in Scribner's Magazine, Vol. VI, No. 6, December 1889 / Jacob Riis -- Inquiries into human faculty and its development (1883) / Francis Galton -- Physiological study of normal walking (1885) / Georges Gilles de la Tourette -- Notes on gesture (2000) / Giorgio Agamben -- Selections from Theoretical Study of Signalment (1896) / Alphonse Bertillon -- Bertillon system of criminal identification [selected by Cameron Rowland] (2018) / National Law Enforcement website; Selection from Attitudes of Animals in Motion (1882) / Eadweard Muybridge -- Selections from Animal Locomotion (1887) / Eadweard Muybridge -- Iron horses: Leland Stanford, Eadweard Muybridge, and the industrialized eye (2005) / John Ott -- Physiologie du mouvement: le vol des oiseaux (1890) / Étienne-Jules Marey -- Chronophotography (1899) / Étienne-Jules Marey -- Marey and the organization of work (1994) / Marta Braun -- Selections of X-ray photographs form Journal of Electrochemistry (1896-97) / Wilhelm Röntgen -- On New kind of rays (1896) / Wilhelm Röntgen -- Injured right hand of workman in the Röntgen Rays in Medical Work (1897) / David Walsh -- Still from Workers Leaving the Lumière Factory (1895) / Louis and Auguste Lumière -- Still from Employees Leaving Williamson's Factory, Lancaster; Still from Employees Leaving Messrs Vickers & Maxim's in Barrow (1901) / Sagar Mitchell and James Kenyon -- Preface to Motion Study: A Method for Increasing the Efficiency of the Workman (1911) / Frank B. Gilbreth -- Motion study photographs (1913-1917) / Frank B. Gilbreth -- Radiography, cinematography and the decline of the lens (1992) / Lisa Cartwright and Brian Goldfarb -- Selections from: Charities and The Commons, and The Survey, 1908-1913 / Lewis Hine -- The Homestead Plant: Carnegie Steel Company in Homestead: The Households of a Mill Town, Vol. 4 (1910) / Lewis Hine -- Production -- Reproduction (1922) / László Moholy-Nagy -- War against war! (1924) / Ernst Friedrich -- Ernst Friedrich's pacifistic anarchsim (1987) / Douglas Kellner -- Der Mensch als Industriepalast (1926) / Fritz Kahn -- Selections from Das Leben des Menschen, Eine vokstümliche Anatomie, Biologie, Physiologie und Entwicklungeschichte des Menschen (1926-1931) / Fritz Kahn -- Photography (1927) / Siegfried Kracauer -- Perspective as symbolic form (1927) / Erwin Panofsky -- (Not) in place: The grid, or, cultural techniques of ruling spaces (2015) / Bernhard Siegert -- Dictionary: Man in Documents 4 (1929) / Georges Bataille -- Type 89 moving-image machine-gun camera, Kai 2, Serial No. 7967 manufactured by Rokuoh-sha [currently Konica Minolta Electronics Co., Ltd.] produced from 1933-44 -- Selections from Arbeiter-Illustrierte Zeitung (1930-32) / John Heartfield -- The work of art in the age of its technological reproducibility (Second version) (1935-36) / Walter Benjamin; There are no mass media (2003) / Bernhard Siegert -- Julie Sander, great-grandson of August Sander, as recounted to Walead Beshty (2017) -- Student of Philosophy [Erich Sander], 1926; Political prisoner [Erich Sander], 1943; Death Mask of Erich Sander, 1944 / August Sander -- Images in spite of all (2008) / Georges Didi-Huberman -- A mathematical theory of communication (1948) / Claude Shannon -- Woman operating a Hollerith pantographic card-punching machine Harris and Ewing Studio [George W. Harris and Martha Ewing] (ca. 1915) -- Computing machinery and intelligence (1950) / Alan Turing -- Labor anonymous in Fortune Magazine, November 1946; Selections from Fortune Magazine, 1941-1962; Homes of Americans in Fortune Magazine, 1946 / Walker Evans -- Walker Evans: The magazine work (2014) / David Campany -- Nation horrified by murder of kidnapped Chicago youth in Jet Magazine, Vol. XIII, No. 19, Septemeber 15, 1955 -- Emmett Till ever after (2013) / Darby English -- The restraints: Open and hidden in LIFE Magazine, September 24, 1956; Selections from Ebony and LIFE Magazine, 1947-1968 / Gordon Parks -- They fight a fire that won't go out in LIFE Magazine, May 17, 1963 / Charles Moore -- Mechanical ("The Dogs' Attack is Negroes' Reward," from LIFE Magazine, May 17, 1963) (1964) / Andy Warhol -- Race riot (1964) / Andy Warhol -- Roentgenizdat [bootleg recordings on x-ray film] (ca. 1960s) / Unknown makers -- The medium is the message (1964) / Marshall McLuhan -- Poem, March 1966 in Aspen Magazine, No. 5+6, 1967 / Dan Graham -- My works for magazine pages: A history of conceptual art, 1965-1969 (1985) / Dan Graham -- Homes for America [photo reproduction of layout for magazine article] (1972) / Dan Graham -- Selections from House Beautiful: Bringing the War Home (ca. 1967-1972) / Martha Rosler -- Tron (Amputee) in Goodbye to All That, No. 3, October 13, 1970 / Martha Rosler -- Amarillo -- Tall in Texas (1971) / Stephen Shore -- Still from Phi Phenomenon (1968) / Morgan Fisher -- Phi Phenomenon (1976) / Morgan Fisher -- Preparation Plants from Coal Mines (1966-78) / Bernd and Hilla Becher -- [Untitled] in January 5-13, 1969 / Douglas Huebler -- Projects Class (1969) / David Askevold -- Advertisements in Artforum Magazine, 1968-69 / Stephen Kaltenbach; Misunderstandings (A theory of Photography) (1970) / Mel Bochner -- Still from Finally Got the News (1970) / Stewart Bird, Rene Lichtman, and Peter Gessner -- Still from Hour of the Furnaces (1968) / Fernando Solanas and Octavio Getino -- Towards a third cinema: Notes and experiments for the development of a cinema of liberation in the Third World (1969) / Fernando Solanas and Octavio Getino -- Photograph and screen (1971) / Stanley Cavell -- Ideological effects of the basic cinematographic apparatus (1974) / Jean-Louis Baudry -- Cover and preface to How To Read Donald Duck: Imperialist Ideology in the Disney Comic (1975) / Ariel Dorfman and Armand Mattelart -- A declaration of dependence (1975) / Sarah Charlesworth -- Washing/Tracks/Maintenance: Outside (1973) / Mierle Laderman Ukeles -- Advertisement in Artforum Magazine, November 1974 / Lydia Benglis -- Magazine Actions in Fiesta Magazine, Vol. 10, No. 7, 1976 / Cosey Fanni Tutti -- Still from Eadweard Muybridge, Zoopraxographer (1976) / Thom Andersen -- Five notes for a phenomenology of the photographic image (1963) / Hubert Damisch -- Mapplethorped: Art, photography, and the pornographic imagination (2016) / Richard Meyer -- X portfolio (1977-78) / Robert Mapplethorpe -- Photograpy en abyme (1978) / Craig Owens -- Young workers (1978/1983) / Jeff Wall -- Artist statement from Horror Pleni: Pictures in New York Today (1980) / Ericka Beckman -- Selections from Camera Lucida: Reflections on Photography (1982) / Roland Barthes -- Allegorical procedures: Appropriation and montage in contemporary art (1982) / Benjamin H.D. Buchloch -- Selections from Travel Posters (1981/2009) / Barbara Bloom -- After Walker Evans: 1-22 (1981) / Sherrie Levine -- Collection of Ten Plaster Surrogates (1982/1990) / Allan McCollum -- Arrangements of pictures in October, Vol. 26, 1983 / Louise Lawler -- Still from Sans Soleil (1983) / Chris Marker -- Wild Dead (1984) / Gretchen Bender -- Towards a philosophy of photography (1983) / Vilém Flusser -- Still from Standard Gauge (1984) / Morgan Fisher; Standard gauge (1984) / Morgan Fisher -- Introduction to Gramophone, Film, Typewriter (1986) / Friedrich A. Kittler -- Still from Handsworth Songs (1986) / Black Audio Film Collective -- Black Audio Film Collective : John Akomfrah, Reece Auguiste, Lina Gopaul, and Avril Johnson (1987) / Coco Fusco -- Selections from Cray at Chippewa Falls: Photographs by Lee Friedlander (1987) / Lee Friedlander -- Ektachrome Archive (1986-96) / Lyle Ashton Harris -- Lyle Ashton Harris on Ektachrome Archive (1986-1996), as told to Alpesh Kantilal Patel (2015) -- Scripts from Monodramas (1987-1991) / Stan Douglas -- News hour viewer call-in segment regarding original broadcast of Stan Douglas's Monodramas (1992) / BCTV -- Herald Tribune, January 18-February 28, 1991 (1991) / Sarah Charlesworth -- The gesture of video (1991) / Vilém Flusser -- Red Portfolio (1993) / Glenn Ligon -- Self portrait (James Dean) (1993) / Jack Pierson -- Hiatus: Work in progress lecture (1993) / Ericka Beckman -- Video and resistance: Against documentaries (1994) / Critical Art Ensemble -- "Can you be BLACK and look at this?": Reading the Rodney King videos (1994) / Elizabeth Alexander -- Being the subject of art (1995) / bell hooks -- Still from Workers Leaving the Factory (1995) / Harun Farocki -- Workers leaving the factory (2004) / Harun Farocki -- Automation of sight: From photography to computer vision (1996) / Lev Manovich -- Selections from Case History (1997-1998) / Boris Mikhailov -- Case history (1999) / Boris Mikhailov -- Selections from Venezia Marghera series (1999/2011) / Lewis Baltz -- Strike Objects (1999) / Jean-Luc Moulène -- Selections from Inflight Magazine, 2000 / Johan Grimonprez -- Post-documentary, post-photography? (2001) / Martha Rosler -- schema: Aquafresh plus Crest with whitener; schema: Aquafresh plus Crest with Scope (2003) / Kelley Walker -- Civilian (adjusted to fit) (2010/2011) / Louise Lawler -- Black Mo'nin' (2003) / Fred Moten -- Orange (2004) / de Rijke/de Rooij -- Stills from Eye/Machine, I, II, and III (2001-2003) / Harun Farocki -- Phantom images (2004) / Harun Farocki -- Live Evil (Kuala Lumpur) (2003) / Paul Pfeiffer -- Digital Video Effect: "Holes" (2003) / Seth Price -- The Full Ediiton of Smoke and Mirrors 24A (2006) / Eileen Quinlan -- Protocol (2006) / Alexander R. Galloway -- Documentary uncertainty (2007) / Hito Steyerl -- Supplement '14 (Mixed Typologies) #6 (2014) / Christopher Williams -- Christopher Williams in conversation with Mark Godfrey (2007) -- Declassification (2018) / United States Department of Defense website -- From the redaction paintings series (2007) / Jenny Holzer -- The civil contract of photography (2008) / Ariella Azoulay; Still from Episode III: Enjoy Poverty (2008) / Renzo Martens -- Toward a new institutional critique: A conversation with Renzo Martens (2012) / T.J. Demos -- Still from Exit (Bath Iron Works, July 7-11, 2008, Bath, Maine) (2008) / Sharon Lockhart -- On compression (2008) / Cory Arcangel -- Repression and the information boom (2005) / Zuhair al-Jezairy -- Redistribution (video transcript) (2010) / Seth Price -- Dailies from Rythm Mastr (2010) / Kerry James Marshall -- Still from In Free Fall (2010) / Hito Steyerl -- In free fall: A thought experiment on vertical perspective (2011) / Hito Steyerl -- Photography and the law: Five groundbreaking cases of photography in litigation (2011) / Daniel McClean -- Still from The Unstable Object (2011) / Daniel Eisenberg -- Still from Workers Leaving the Googleplex (2011) / Andrew Norman Wilson) -- Still from Touching Reality (2012) / Thomas Hirschhorn -- Why is important--today--to show and look at images of destroyed human bodies? (2012) / Thomas Hirschhorn -- You've lost that loving feeling: RinekeDijkstra after empathy (2012) / Johanna Burton -- Diane Arbus: A printed Retrospective, 1960-1971 (2012) / Pierre Leguillon -- Anonymous needs and desires (Various Castoffs: Ceramic Tile, Pototo Chips, Garlic, Men's Socks, Blackberry, iPod, Baby Food, Perfume, Chocolate, and Cigarette) (2012) / Liz Glynn -- Truth Study Center (2016) / Wolfgang Tillmans -- The Tower (2015) / Hito Steyerl -- In Defense of Representation (2015) / Tristan Garcia -- Great things never come from comfort zones in i-D Magazine, No. 336, 2015 / Wolgang Tillmans -- Infrastructuralism (2015) / John Durham Peters -- The distributed image (2015) / Peter Osborne -- Untitled (2016) / Isa Genzken -- Parasagittal Brain (2013) / Yngve Holen -- Flint is family in Elle Magazine, September 2016 / La Toya Ruby Frazier -- The Phatasmagoric dispositif: An assembly of bodies and images in real time and space (2016) / Noam M. Elcott -- Handpunch (2014-2015) / Cameron Rowland -- Love is the message, the message is death (2016) / Arthure Jafa -- Love is the message, the plan is death (2017) / Arthure Jafa and Tina Campt -- Martha Rosler in conversation with Walead Beshty (2017) -- Stephen Shore in conversation with Walead Beshty (2017) -- Stan Douglas in conversation with Walead Beshty (2016) -- Hito Steyerl in conversation with Walead Beshty (2017) -- James Merle Thomas in conversation with Walead Beshty (2018).

Curated by artist Walead Beshty, the exhibition Picture Industry reflects upon transformations in the production and distribution of photographic images as realized through its varied constructions of the corporeal, from its origin as a scientific tool and a means of cultural investigation to its phenomenological effects on the viewer. The exhibition complexifies traditional accounts of the medium, drawing on its application within science and the humanities to contemporary art, and includes works and photographic documents by over 70 artists and practitioners spanning the late 19th century to the present. It posits a provisional, alternative history of the optical image, breaking with both the technologically deterministic approach of aesthetic formalism, and the semiotic fixations of postmodernism, and on this basis reflects anew on the contemporary condition of image production. Picture Industry considers not only the materiality of images and the technologies that form their reception, but also the conflicted social history that lies under their surfaces and shapes our complex contemporary image world.

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