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The Photobook [electronic resource] : From Talbot to Ruscha and Beyond.

By: Di Bello, Patrizia.
Contributor(s): Wilson, Colette | Shamoon, Zamir.
Material type: TextTextPublisher: London : I.B.Tauris, 2012Description: 1 online resource (252 p.).ISBN: 9780857721419 (electronic bk.); 0857721410 (electronic bk.).Subject(s): Fine Arts | Photobooks | PHOTOGRAPHY / Criticism | PHOTOGRAPHY / HistoryGenre/Form: Electronic books.Additional physical formats: Print version:: The Photobook : From Talbot to Ruscha and BeyondDDC classification: 770.9 Online resources: EBSCOhost
Contents:
NOTES ON CONTRIBUTORS; PICTURE CREDITS; ACKNOWLEDGEMENTS; INTRODUCTION; H. Fox Talbot's 'Scotch Views' for Sun Pictures in Scotland (1845) -- Graham Smith; 'Art-Science': The North American Indian (1907-30) as Photobook -- Shamoon Zamir; Emil Otto Hopp�e, Autobiography, and Cultural Moments -- Mick Gidley; Recalcitrant Intervention: Walker Evans's Pages -- David Campany; Sculpture, Photograph, Book: The Sculptures of Picasso (1949) -- Patrizia Di Bello; A Kind of a 'Huh?': The Siting of Twentysix Gasoline Stations (1962) -- Ian Walker
Beyond the Exhibition -- from Catalogue to Photobook -- Liz Wells'The book the nation is waiting for!': One Day for Life (1987) -- Annebella Pollen; A Spectre is Leaving Europe (1990): Appropriation in a Post-communist Photobook -- David Evans; The Photobook as Object of Memory and Nostalgia: Alexandrie l'�Egyptienne (1998) by Carlos Freire and Robert Sol�e -- Colette Wilson; The Eye of the Lens and the Feet of the Photographer: Eduardo Gageiro's Lisboa No Cais Da Memoria (2003) -- Paul Melo e Castro
Orhan Pamuk's Melancholic Narrative and Fragmented Photographic Framing -- Istanbul: Memories of a city (2005) -- Grabriel KoureasSelected Bibliography; Index;
Summary: The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot's "The Pencil of Nature" heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers across several fields of scholarship share a range of fresh approaches to reading the photobook, developing new ways of unde.
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NOTES ON CONTRIBUTORS; PICTURE CREDITS; ACKNOWLEDGEMENTS; INTRODUCTION; H. Fox Talbot's 'Scotch Views' for Sun Pictures in Scotland (1845) -- Graham Smith; 'Art-Science': The North American Indian (1907-30) as Photobook -- Shamoon Zamir; Emil Otto Hopp�e, Autobiography, and Cultural Moments -- Mick Gidley; Recalcitrant Intervention: Walker Evans's Pages -- David Campany; Sculpture, Photograph, Book: The Sculptures of Picasso (1949) -- Patrizia Di Bello; A Kind of a 'Huh?': The Siting of Twentysix Gasoline Stations (1962) -- Ian Walker

Beyond the Exhibition -- from Catalogue to Photobook -- Liz Wells'The book the nation is waiting for!': One Day for Life (1987) -- Annebella Pollen; A Spectre is Leaving Europe (1990): Appropriation in a Post-communist Photobook -- David Evans; The Photobook as Object of Memory and Nostalgia: Alexandrie l'�Egyptienne (1998) by Carlos Freire and Robert Sol�e -- Colette Wilson; The Eye of the Lens and the Feet of the Photographer: Eduardo Gageiro's Lisboa No Cais Da Memoria (2003) -- Paul Melo e Castro

Orhan Pamuk's Melancholic Narrative and Fragmented Photographic Framing -- Istanbul: Memories of a city (2005) -- Grabriel KoureasSelected Bibliography; Index;

The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot's "The Pencil of Nature" heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers across several fields of scholarship share a range of fresh approaches to reading the photobook, developing new ways of unde.

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