"A continuation of volumes one and two listing general areas of interest in photography and, in volume three, individual photographers born after 1950 (the other volumes end in 1936). Since the reference is dealing with contemporary photography, video and CD-ROM photographic innovations and topics are also included. Contains over 5,092 entries; each subject is listed alphabetically and in chronological order with references to translations (in the case of non-English books and articles), new editions, and illustrations. In some cases a very short commentary is also offered, although the bibliography is not annotated. The index comprehensively includes the 17,000 names cited in all three volumes."--Review from Booknews.

Ever since the mid-nineteenth century, when the new medium of photography was pressed into service to illustrate sculpture, photographs of sculptural objects have directed viewers as to what, in the course of ambling around a sculpture, was the single perfect moment to stop and look. What is the photograph’s place in writing the history of sculpture? How has it changed according to culture, generation, criti-cal conviction, and changes in media? Photography and Sculpture: The Art Object in Reproduction studies aspects of these questions from the perspectives of sixteen leading art historians. Their essays consider iconic photographs, archival collections, new and forgotten technologies, and conceptual challenges in photographing three-dimensional forms that have directed changing historical and stylistic attitudes about how we see, write about, and narrate histories of sculpture. Chapters on such varied topics as picturing Conceptual art, manipulating sacred images in India to be non-photographs, and framing Roman art with an iPad illustrate the latent visual and narrative powers and ever-expanding potential of these images of sculpture.

As anyone who has wielded a camera knows, photography has a unique relationship to chance. It also represents a struggle to reconcile aesthetic aspiration with a mechanical process. Robin Kelsey reveals how daring innovators expanded the aesthetic limits of photography in order to create art for a modern world.

Surveys the presence of photography in artistic practice from the 1960s onwards.

Photography of art has served as a basis for the reconstruction of works of art and as a vehicle for the dissemination and reinterpretation of art. This book provides the first definitive treatment of the subject, with essays from noted authorities in the fields of art history, architecture, and photography. The essays explore the many meanings of photography as documentation for the art historian, inspiration for the artist, and as a means of critical interpretation of works of art. Art History Through the Camera's Lens will be important reading for students, historians, librarians, and curators of the visual arts.

The Uses of Photography examines a network of artists who were active in Southern California between the late 1960s and early 1980s and whose experiments with photography opened the medium to a profusion of new strategies and subjects. These artists introduced urgent social issues and themes of everyday life into the seemingly neutral territory of conceptual art, through photographic works that took on hybrid forms, from books and postcards to video and text-and-image installations. Tracing a crucial history of photoconceptual practice, The Uses of Photography focuses on an artistic community that formed in and around the young University of California San Diego, founded in 1960, and its visual arts department, founded in 1967. Artists such as Eleanor Antin, Allan Kaprow, Fred Lonidier, Martha Rosler, Allan Sekula, and Carrie Mae Weems employed photography and its expanded forms as a means to dismantle modernist autonomy, to contest notions of photographic truth, and to engage in political critique. The work of these artists shaped emergent accounts of postmodernism in the visual arts and their influence is felt throughout the global contemporary art world today. Contributors include David Antin, Pamela M. Lee, Judith Rodenbeck, and Benjamin J. Young. Published in association with the Museum of Contemporary Art San Diego. Exhibition dates: Museum of Contemporary Art San Diego: September 24, 2016ÐJanuary 2, 2017

In his renowned book 'The History and Practice of the Art of Photography', Henry Hunt Snelling provides a comprehensive overview of the origins and development of photography as an art form. Through detailed historical analysis and practical insights, Snelling delves into the evolution of photography techniques, equipment, and styles over the years, shedding light on the transformation of this visual medium. Written with a scholarly tone, the book explores the impact of photography on society and the arts, positioning it within the broader context of cultural history. Snelling's meticulous attention to detail and passion for the subject make this book a valuable resource for photography enthusiasts and historians alike. As a prominent figure in the early days of photography, Henry Hunt Snelling was not only a renowned author but also a skilled practitioner of the art. His expertise and passion for the medium are evident throughout the book, reflecting his deep understanding of the complexities of photography. Drawing on his own experiences and knowledge, Snelling offers readers a unique perspective on the art of photography. I highly recommend 'The History and Practice of the Art of Photography' to anyone interested in delving into the fascinating world of photography. Whether you are a seasoned photographer or a novice enthusiast, Snelling's book will provide you with valuable insights and a deeper appreciation for this timeless art form.

Whether at UFW picket lines in California’s Central Valley or capturing summertime street life in East Harlem Latinx photographers have documented fights for dignity and justice as well as the daily lives of ordinary people. Their powerful, innovative photographic art touches on family, identity, protest, borders, and other themes, including the experiences of immigration and marginalization common to many of their communities. Yet the work of these artists has largely been excluded from the documented history of photography in the United States. Through individual profiles of more than eighty photographers from the early history of the photographic medium to the present, Elizabeth Ferrer introduces readers to Latinx portraitists, photojournalists, and documentarians and their legacies. She traces the rise of a Latinx consciousness in photography in the 1960s and '70s and the growth of identity-based approaches in the 1980s and '90s. Ferrer argues that in many cases a shared sense of struggle has motivated photographers to work purposefully, driven by a deep sense of resistance, social and political commitments, and cultural affirmation, and she highlights the significance of family photos to their approaches and outlooks. Works range from documentary and street photography to narrative series to conceptual projects. Latinx Photography in the United States is the first book to offer a parallel history of photography, one that no longer lies at the margins but rather plays a crucial role in imagining and creating a broader, more inclusive American visual history.