Quotes
text
Contents
ACKNOWLEDGMENTS Xlll
PREFACE XVii
- THE DESTRUCTION BUSINESS
Some Thoughts on the Function of Criticism 1
2. ON REDACTION
Heaps and Wholes, or, Who Empties the Circular File? 25
3. DOCUMENTARY, PHOTO.JOURNALISM, AND PRESS PHOTOGRAPHY NOW
Notes and Questions 3 5
4. THE IMAGE IN QUESTION
Further Notes on the Directorial Mode 53
5. MUTANT MEDIA
Photo/Montage/Collage 63
6. THE VANISHING BORDERLINE
Sketch for a Manifesto on the “Democratization” of Art 81
7. CONSPICUOUS BY HIS ABSENCE
Concerning the Mysterious Disappearance of William Mortensen
8. LENTIL SOUP
A Meditation on Lens Culture 113
9. EDWARD S. CURTIS
The Photographer as Ethnologist 133
10. PRIVATE LIVES IN PUBLIC PLACES
The Ethics of Street Photography 159
11. EPILOGUE
Items for an Agenda 171
PUBLICATION CREDITS 179
PICTURE CREDITS I83
ABOUT THE AUTHOR 185
INDEX 187
Index A-C
A
Abbott, Berenice, 31, 75, 160
Abernathy, Billy (Fundi), 42, 49m3
Abramson, Michael, 42
Adams, Ansel, 93, 143; Mortensen and, 94,
95-96,99,104, 1101115,11 1111132,34;011
photo-documents, 104 previsualization
and, 73; propaganda and, 105; purist approach
of, 73; on Steichen, 110m4
A Day in the Life of . .. concept, criticism of,
49116
Ades, Dawn: on photomontage, 67
Affichistes, 74-75
Agee, James, 25
Albers, Josef, 29, 33118
Albert, Leonard: on critical distance, 5, 1 -16
Alhazen, II 8
AJkindi, l l 8
Alterman, Eric: on Ochs, 5on24
Alvarez Bravo, Manuel, 42 88 15–n40 i-3,
174
An1ateur artists, 231131; audience and, 1 ‘-1
Americans, The (Frank), 42
American Society of Media Phmograpbcrs,
Code of Ethics of, 168n8
Anderson, Marilyn, 5om8
Ansel, Ruth, 168n8
Anthropology: cultural/social, 142; photography
and, 137, 154n6, 15-n44; visual,
134,135,143,151,153,154n9
Antmann, Fran, 5on18
Arbus, Diane, 31, 160; commentary on, 3;
2211117, 9; Szarkowsk.i and, 29
Arecibo radio tekscope.. 1:::6.. Sa cadiordc-
scopc
_.\nmrrong. Louis: quorc .–9CaArrington,
Clarence, 161-62, 165, 168118
Art: bad/failed compared, 17-18; democratization
of, 81-89; folk forms of, 90117;
photography and, xvii, 26-27; successful,
18; technology and, 81-82, 87; thesis of,
81; top-down imposition of, 16
Art and Photography (Scharf), 67
Art education, 84; technology and, 85
Artists: art and, 9, II; criticism and, 10;
lotteries and, 172-73; performance standards
of, 15, 87; personality /output of,
12; religion and, 172-7 3; support for, 17.
See also Amateur artists; Professional
artists
Artists’ books 4 3 4
Arr of the people, 88, 173
Art photography, 171
Art teachers, contracts with, 172
Atget, Eugene, 29, 75, 104; photojournalism
and, 159
Audience: artists and, 12; art-world propaganda
and, 17; critics and, 9, II; interpretation and, 15
ausstellungskritik, 3
Austen, Alice, 30
Auteurism, 54; directorialism and, 56; photography and, 55-56
Auteur theory, 54-55
“Author as Producer” (Benjamin), 29
B
Bacon, Francis, 20
Bacon, Roger, u8
Baconian scientists,1 23
Bagdikian, Ben: on media monopoly, 45
Baldessari, John: photocollage/photomontage
and, 70
Baldwin, Gordon: on collage, 68
Balinese Character (Bateson and Mead), 141
Barthes, Roland, 58, 6m15; on criticism/
crisis, 7; quote of, 53
Barzun, Jacques: on art/intentions, 19
Bateson, Gregory, 141
Battle of the Books (Swift), 123
Bearden, Romare, 71; photocollage/photomontage
and, 70; photo-projections and,
79n27
Beck, Jnlian: Living Theatre and, 159
Beckmann, Max: on criticism, 5; on defining
art, 221112
Bellocq, E. J., 29
Bellows, George: Mortensen and, 94
Benjamin, Walter, 52n25, 86; on redaction,
29
Berger, John, 13, 46, 64; on artists, 12; on
criticism as intervention. 11
Berman. – 99; phorocollage and,
66
Berman, Wallace, 76
Bernhard, Ruth, 59
“Best of the New Generation: Men and Women Under Forty Who Are Changing America, The” (Esquire), 40
Bikeriders, The (Lyon), 42
Binary code, 126; reproduction of, 127, 128
Birth of a Nation (Griffith), 18
Black in WhiteAmerica (Freed), 42
“Black Middle Class: Making It, The” (Neiv
York Times Sunday Magazine), 161
Blake, William, 10
Block, The (Gorn), 42
Blumann, Sigismw1d: on Weston, 91-92
Boas, Franz, 142, 1+4, 1551124
Body of work, guidelines for, 30-31, 32
Bolter, J. David: on defining technology, 81,
u3; on tools/culture, u8
Book, cultural attitudes toward, 43
Bourke-White, Margaret, 41; photojournalism
and, 37
Brassai:, 75, 160
Brecht, Bertolt, 521125, 60; on Heartfield,
66; on reproduction of reality, 57
Bresson, Robert: on cinematography, xi
1 SB INOEX
Bridgman, George: Mortensen and, 94
Brooks, Ellen, 58
Brown, James, 24n31
Burgin, Victor, 5rn25
Burning glass, rr8
Burroughs, William, rr7
Burson, Nancy, 76
Butler, Judith, xxi
Butler, Samuel, 123
Byers, Paul: on photographer/context, 142-43
C
Ciliun, Claude, 76
“California Pictorialism;’ 112n40
Callilian, Harry, 72, 75, 160; photomontage
and, 67
CameraArts, 109
Camera Craft (CC), 91, 96, 109117;American
Photography and, 109nr; Mortensen
and, 94, 99, 1101112; purist-pictorialist debate
in, 106; reviewing, 107
Camera Craft Publishing Co., Mortensen
books by, 94
Camera lucida, u7, 125
CameraLucida (Barthes), 6rn15
Camera obscura, rr7, rr9, 125, 129115
Campanella, Tomasa, 121-22
Caprice Vennois” (Mortensen), 99
Caprichos (Goya), 104
Cardano, Girolamo, 120; camera obscura
and, 125; lens and, rr9
Cardenal, Ernesto, 9onr7
Carmichael, Stokely: on definitions/society,
45, 5onr9
Cartier-Bresson, Henri, 36, 41, 42, 491113,
160
Casebere, James, 59
CC. See Camera Craft
Cendrars, Blaise, 159
Censorship, 19, 21n3
Center for Creative Photography, Mortensen and, 1 1 11139, 1121141; on Group F. 64,92
Chandler, Raymond, 54
Chappell, Walter, 129116; on camera vision, 74
Cheatwood, Derral, 143, 153
Chomsky, Noam: linguistic competence and, 115
Citizenship, responsible, 2-3
Coburn, Alvin Langdon, 75; photomontage and,73
Cohen, Stephen, 75
Collage, 67, 68; Cubist, 6 5; montage and,
77
Collier, John: on visual anthropo– 1r,
153
“Comanche,A” (Curtis), 132 1tp1udoctivo
of, 132
“Coming for the Bride” ( Curtis : reproduction
of, 139; Curtis caption fix. l :;Commanday,
Robert, 6
Command to Look, The ( Morn:osen), 9-f
IIon8
Communication, 13, 4 -; communication
about, 120; effectiveness of, 14; lens and,
13m42; Other and, 14; photography and,
82, 84; visual, II 3; writing and, 84
“Composite Imagery and the Origins of
Photomontage” (Sobieszek), 67
Compound lens, 120, 121, 123; invention of,
II9
Computer culture, 82, 87, 88-89
Consilvio, Tom, 28
Contact: Theory, 31
Conversatwns With The Dead (Lyon), 42
Cooper, Gary, 154m2
Copernicus, Nicolas, 121
Corpron, Carlotta, 75
Cowin, Eileen, 59
Creative impulses, 76
Crimp, Douglas, 54-56
Crisis: Chinese ideogram for, 8; criticism
and, 7-8
Critical discourse, II, 12; thoughts on, 5–
Critical distance: establishing, ; lack of, 5-6
Critical tradition, establishment/continuity
of, 9-10
Criticism, 2211I6; giving/receiving, 16; root
of word, 7; thoughts on, 1-21
Critics, 5, 8, 2211I2; dissident, 19; and mosquitoes
compared, 12; obligation of, II-
12; reading, 10-u; unpopularity of, 9
“Crown” glass, 119
Cultural symbols, 160
Cultural zeieist, 15
Culture, photograph and, 136, 16o
Cununing, Robert, 59
Cunningham, Imogen, 31, 160
Cunningham, Merce, 231131
Curtis, Edward Sheriff, xix, 37, 1571140; anthropology
and, 141, 142, 152;
anthropology /photography and, 1571144;
as art photographer, 141; etlmology/
photography and, 157n44; frontispiece,
132; landscape photography by, 137-38;
models for, 152; Native Americans and,
134, 135-36, 141-42, 144-46,147, 152;
photo by, 138, 139, 144, 145, 146, 147,
148, 149, 150; recordings by, 147; visual
anthropology and, 135, 153; work of,
134-37, 143-44, 147, 151, 153, 1571140
D-L
D
Da Capo Press, 31
Dadaists: montage and, 78116; photomontage
and, 65, 66
Daguerre, L.JM., 159
Daguerreotype, 83, II7, 126, 1301134
Davenport, John L., 11 m34
“Death of H ypatia” ( Morrensen), 99; reproduction
of, 100
DeCarava, Roy, 42, 4911I 3, 157040
Defining teclmology, 113
De Gregorio, Carl: suit brought by, 1680
DeMille, Cecil B., 97, 154m2
Democrirus, n8
Department of Photography (Museun1 of
Modern Art), 96
Deren, Maya, 55
Descartes, Rene, 1 r 8
“Desert Cantos: The Playboys” ( Misrach),
75
Destruction, 2, 7, 8, 20
D .F.A. degree. See Doctor of Fine Arts degree
Diaphana (Maurolycus), II9
Dickens, Charles: quote by, 159
Dickinson, Emily, 9
Digges, Leonard: compound lens and, n9;
lens culture and, 120
Digital-camera systems, 86-87
Dwptrice (Kepler), 122
Directorialism: auteurism and, 56; mai1ifestation
of, 60
Directorial mode, xviii, 54, 57, 59, 60119, 97,
138
Directorial photographers: artifacts and, 58-
59; performance evoked by, 59-60
Direct-positive process, 83
Disasters of War (Goya), 104
Disbelief, suspension of, 58
Disfarmer, Mike: “Heber Springs Portraits” project and, 30
Dixon,Joseph K., 15511I3
Doctor of Fine Arts (D.F.A.) degree, 1 2
Docudrama, 13 3
Documentary photography: 35; defining,
36-37; docmnentaries, 35, 37, 40-41; debate
over, 5on24; invention of, 1; key
works of, 42; misunderstanding about,
42; objective/nonpolitical, 47; photojournalists
and, 38; pioneers of, 45-46; purpose
of, 36, 46, 47; reinventors of, 41-42;
self-defeating attitudes and, 48; technology
and, 44
Double exposures, 68, 75, 77n4
Dreams, Lies, and Exaggeratwns: Photomontage
inAmerica (exhibit), 67
Duncan, David Douglas, 37, 41, 4911I4
Dfuer, Albrecht: perspective and, II9
Dutton, Allen A., 79n29
Dylan, Bob, 8
E
Eastman, George: Kodak and, 83
Edelman, Bernard, 165115
Edgerton, Samuel Y., Jr., 13om9
Editorial control, 38
Educational theory, art and, 85
Edwards, Jolm Paul: Mortensen and, 94
Eisenstein, Sergei M., 79n30; montage and,
. l, -806
Elecrronic imaging, 36
Eliot, T. S., 15, 19, g–
Elisha, Walter, 27
El Salvador (Meiselas), 40
Emerson, Peter Henry: Curtis and, 156029
Emmet, Herman, 5on18
Emotions, art and, 15
Engels, Frederick, 21m, 129n5
Ernst, Ma,x, 67
“Eskimo Men’s House” ( artist unknown),
145; reproduction of, 145
Esquire: “Golden Collector’s Issue” of, 40;
on Meiselas, 47
Ethnography, 140; objective, 143
Ethnology, 140; photography and, 141,
157n44
Euclid, II8
Evans, Walker, 75, 16o; affichisme and, 74-
75; Farm Security Administration images
by, 31
Ewald, Wendy, 49113, 900II
Exhibition critique, 3
“Exposition of My Photographic Technique,
An” (Adams), 99
Expression, photography and, 82
Extended form, 37
Eyeglasses, II8
F
Factoids, 16 3
“Family of Man, T he” (Steichen), 49n7
Faris, James C., 153
Farm Security Administration projects, 31,
41,48n2
Faucon, Bernard, 59
“Fauna” ( Fontcuberta and Formiguera),
5om7
Faurer, Louis, 75
Feedback loop, 15,16,21n4
Peiffer, Jules, 41
Fellow Teachers (Rieff), xxiin4
Fichter, Robert, 59
“Fire-Drill,K oskirno,T he” (Curtis),1 44;
reproduction of, 149
“Fish-Weir across Trinity River” (Curtis):
reproduction of, 146; Curtis caption for,
184
Flaherty, Robert, 55, 147, 1571137
Flash in Modern Photography (Mortensen),9 4
Fleming, John: on photomontage, 66
Flye, James Harold, 25-26
Fontcuberta, Joan, 501117
Porche, Carolyn, 20
Forman, Marjorie, vii, xv
Formiguera, Pere, 501117
Frank, Roberr, 20, 42, 56, 158n40, 160; on
criticism, 7
Freed, Leonard, 42
Freedman, Jill, 42
Free radicals, magnetic tug of, 8
French,Marilyn,20
Freud, Sigmund, photomontage and, 74,
8on38
Friday Night at the Coliseum (Winningham),
42
Friedlander, Lee, 7 5, 160
Friends of Photography, ro8
From One China to the Other ( CartierBresson and Sartre), 42
f.64 Group, 93, 94, 95; exhibit by, 92; Mortensen and, ro8
Fusco, Paul, 42
G
Gage, Simon Henry, 120
Galileo Galilei, 122, 123, 13onn18, 19; compound
lens and, 121
Garlock, Jonathan, 5om8
Gassan, Arnold, on Morrensen, ro9117
Gatewood, Charles, 160
Geertz, Clifford: anthropological writings
of, 151-52; on ethnographic account, 152
Genthe, Arnold, 160
Gemsheim, Alison: Mortensen and. 9 . 95
Gemsheim, Helmut, rn9; Mom:nsa:i and,
93,95
Giacomelli, Mario: directorialism .1Ild 6o
Gill, Delancey, 141
Gilpin, LaUia, 42, 15409
Goddard, H. H., 142
Goffman, Erving, 58; theatrical frame
138
Gordillo, Henry: on Moro:nscn, 11 n
Gorgoni, Gianfranco 161, 16-. 16808
Goro, Herb, 42
Goya, Francisco, 20 104
Graham, Martha, 9-
Gregory, R. L., 117
Griffith, D. W, 18
Griffiths, Philip Jones: photojoUinalism and,
37, 42
“Grinding Meal” (Curtis), reproduction of,
144
Grinnell, George Bird, 142
Grosz, George: photocollage/photo·
montage and, 70, 78116
Grotesque in Photography, The (Coleman),
xvi ii, II In 31
Group f. 64. See f. 64 Group
Groupthink, critics and, 8
Guadalupe Tepayac, 166115, 16705
Guggenheim Foundation, 107, 173
Gulliver’s Travels (Swift), 123
H
Haacke,Hans,46,50017
“Haida Chief’s Tomb at Yan, A ( CUitis):
reproduction of, 138 · Curtis caption for,
183
Hajek-Halke, Heinz: photomontage and, 71
“Hamatsa Emerging from the Woods,
Koskimo” ( CUitis), reproduction of, 148
Haptic, 154m 1
Hartmann, Sadakichi: on Curtis 155m6
Hausmann, Raoul: phorocollage/photomontage
and, 70
Heartfield, John, 67, 79029, 99; e.mibit by,
66; photocollage/phoromomage and, 66,
70, 74; working method of, -9026
“Heber Springs Portraits” project, 30
Heinecken, Robert, 76
Helmholtz, Hermann Ludwig Ferdinand
von,1561129
Hemingway, Ernest, 174
Henri, Robert: Mortensen and, 94
Herzfelde, Wieland, 69; photocollage and,
66
Heyman, T herese T hau, uoms; on Adams/
Mortensen, 96
Hillers, John K., 141
Hine, Lewis, 36, 1571138; documentary and,
40; photojoUinalism and, 159
History: issues of, xvii; myth and, 81
Hi.story of Photography: From I839 to the Present
Day, The (Newhall), 96, ID7, I08-9
Hoch, Hannal1, 791122; photocollage/
phoromonrage and, 70
Hodge., Frederick William, 142
Holmes, Oli\·er Wendell, rn5
Holmes, \\~illiam Henry 142
Honnef, Klaus: photomonrage and, 69; on
Robinson/Rejlander, 6-
Honour, Hugo: on photomonrage, 66
House, Suda: Mortensen exhibition and,
I08
Hugo, Victor, 43
“Human Relations 1932” (Mortensen), 99;
reproduction of, rn2
Hunt, George, 144
Huxley, Aldous: on decline of quality, 88,
89116
I
Ideological correctness, 46, 47; political effectiveness
and, 42
Image hybridization., 64, o, 76
Image-making, 36, 77, 124; photographic,
69, 70, 105
Images: controlling, 165; massmanufactured,
63-64; misuse of, 163; received,
64
Image selection, control of, 38
Indignation, criticism and, 2
Information: generation of, 120; lens and,
129; visual, II 9
Informational/ representational material,
36
Institutional theory of art, 9008
Intelligent Eye, The (Gregory), II7
Intentionalism, 32
In the Land of the Head-Hunters, CUitis and,
147, 1541112
I Protest! (Duncan),49l1I4
Irmas, Deborah, 108, 1 unn33, 39
“Itinerant Photographer;’ 31
Ives Charles, 93
Ivins, William M., Jr., 129118; on rationalization of sight, II 9
J
Jackson, Shirley, 16
Jacobi, Lotte, 59
Jargonization, 64
“Johan the Mad” (Mortensen), 99
Johnson, Wendell: on books/readers, 177
Joyce, James, 97
J. Paul Getty Museum, 68, 79n25
K
Kafka, Franz, 9
Kazantzakis, Nikos: on criticism, 2
Keil, Tilo, 76
Kenner, Hugh: on critical tradition, IO
Kepler, Johannes, II9, 122
King of Kings (DeMille), 97, 154m2
Kirstel, M. Richard, xiii, 29, 58, II8-19; on
matrix of distortion, 37
“Kiss, The” (Mortensen), 99
Klucis, Gustav G.: photomontage and, 68
Kodak,83,86,114
Korzybski, Alfred, 117
Kramer, Hilton: on failed art, 18
Krauss, Rosalind: on surrealism/photography,
68
Krims, Les, 56, 59
Kriz, Vile.m, 58
Kruger, Barbara: phorocollage/pboromontage
and, 70
Kuhn, Thoinas: on description, 56
L
La Causa (Fusco), 42
Lange,Dorothea,41,56, 104
Lartigue, Jacques-Henri, 160
Laughlin, Clarence John: photomontage
and, 73
Layout patterns, 39
Leach, Bernard: on unknown craftsman, 81
Leeuwenhoek, Anthony von, 12 3
Lens culture, II6, 121, 126, 129; development
of, u8, 120; emergence of, 124
Lenses: communication and, 131n42; cultural
in1pact of, 125; culture’s relationship
with, n3; information and, 129; obje c tivity
of, n4;
Lens imagery, 120, 121, 124- 126, 129
Lentil, 126, 129
Lesy, Michael, 30
Levinthal, David, 58
Levitt, Helen, 160
Liebling, Jerome, 42
Life and Landscape on theN oifolk Broads
(Emerson), 156n29
Lin,Mai, 13
Linguistic competence, 115
Lippard, Lucy: on Curtis, 140, 156028
Living Theatre, 159
Looking at Photographs: A Guide to Tedmical
Terms (Baldwin), 68
Los Angeles Center for Photographic Studies,
II 1n32
Lotteries, artists and, 172-73
“Lottery, The” (Jackson), 16
Lowenfeldt, Viktor, 15 4nr 1
Lowie, Robert H., 142; on Curtis, 155n26
Lubasz, Heinz: on moral problems, 19
“Lucii Ferraris” (Mortensen), 99; reproduction
of, 98
Lustrum Press, 31
Lyman, Christopher, 141, 145,156nn27, 28,
30; anthrnpological photographs and,
156n30; on Curtis, 143
Lyon, Danny, 42
M-R
M
McLuhan, Marshall: on book as artifact, 43:
on media, 63
Maar, Dora, 76
Made in Germany (Freed), 42
MagiaeNaturalis (Porta), 125
Making things look, 57
Malcolm, Janet, 4
Maldonado, Ada.I, 79n29
Malina, Judith, 159
Mann, Margery, 1121140
Mapplethorpe, Robert, 17
Mark, Mary Ellen: directorialism and, 6on9
Martinez, Eniac, 166n5°
Martone, Michael, 58, 76
Marvell, Andrew, 123
Marx, Karl, 129n5; on criticism, 2
Mass media, 64; documentary /photojournalistic
practice in, 47; factoids in, 163;
photography and, 45
Mata, Francisco, 166n5
Mattison, Harry, 5on21
Maurolycus, Franciscus, 120, 122; on glass
lenses, II9
Mead, Margaret, 141, 156n28; on
anthropology/photography, 154n6; on
photographer-analyst, 143; visual anthropology
and, 154n10
.\fearvard, Ralph Eugene, 58
Mciei, Richard, 23n31
Meiselas, Susan, 35, 45; books by, 40; Esquire
on, 47; photojournalism and, 40;
press photography and, 39, 40
Metacommunication, 120, 124
Metzker, Ray, 76
Mexican Indigenous population, 16–n5
Meyerowitz, Joel: on street photography,
160, 165n4
M.F.A. degree, 171, 172
Michals, Duane, 58, 59, 9 · montage process
and,72
Microfiche, documentary and. 46
Microscopes, II7, 126; impaaof, 122, 124;
references to, 122-26
Minamata ( Smith and Smirh . 41 42
Mise-en-image, 58, 97 138
Misinterpretation, problems v.im, r 3
Misrach, Richard, 75
MobyDick (Melville),93
Model, The ( Mortensen l, 94
Moholy-Nagy, Laszlo, -3. 90DI4
Mohr, Jean, 46
Molinier, Pierre, 76
Monsters andMadmmas: A Bd ufM ethods
(Mortensen), 9+, 96-, 10908
Montage, 66, 68; collage and, 77; film editing
and, 71; media,-Montage
andModnnLifr (Phillips), 69
Moore, Henrv, 9-: on critics, 5, 221113
Morgan, Barbara. n36· photomontage
and,73,74
Mortensen, M yrdith. I I lllllH 39
Mortensen, William, – _::. 111.Il26· direc·
torial mode and, 9-: essay on. niii, m:
exile of, 93, ro6–; inirucna: oi.. 94-9·,
108-9,109-1008: pboro by. 98, 100, 101,
102, 103; propa,,,oanda and, 104,105;
purism/picrorialism and, 95; work of, 96,
97, 99, 105, I 11039
Mortensen on the Segative (Mortensen), 94
Mortensen School of Photography, 94
Mueller,T homas, 4903
Miiller-Pohle, Andreas., 6on4
Munari, Bruno, -911.24
Murillo, Rosario, sxm1-
Mimnurs ofE arth (Sagan),1 26
Muses, 2, 16; critics and, 1
Museum of Modern Arr, 96; Heartfield at,
66; press release by, 27-28
Muybridge, Eadweard, r 3 3
Myers, William E., 144
N
Nagatani, Patrick, 59
“NakoaktokMawihl, A:” (Curtis), 150; reproduction
of, 150
Nanook of the North (Flaherty), Curtis and,
147, 1571137
National Endowment for the Arts, 17, 173
Naturalistic Photographyf or Students ofA rt
(Emerson), 1561129
Negative sandwiches, 72, 75
Neruda, Pablo, 88
New American photography, 171, 174-75
New ColumbiaEncyclopedia, The, xvii-J1.-viii,
xix
Newhall, Beaumont, 108, r 1on14; Curtis
and, 154112; exhibits and, 96; Mortensen
and,93-94,95,107,109, 111n34;on
photomontage, 68-69
Newhall, Nancy: Mortensen and, 94, 95;
pictorialism and, 96
Newman, Arnold, 59
New Museum for Contemporary Art, 39
New York Observer, 3, 4, 18
NewYork&r,inv of Books, The, 4, 22116
New York State Council on the Arts, 1-3
NnvYork Times, 161, 165; on Curtis, 134
Nicaragua ( Meiselas), 40
“Nicaragua Media Project, The;’ 39-40
Nicolson, Marjorie: on microscope, 123; on
telescope, 122, 125
Niepce, Joseph Nicephore, 126, 159
Nietzsche, Friedrich: on critics/mosquitoes,
12
in, Ana.is, 73
orris,F rank,4 3
orth American Indian, The (Curtis), 3 7,
133,152, 153; images in, 143-44; making
of, 135-36
NouveauxR.calistes, 74
Nystrom, Christine L., 13m43
O
Objectivity: journalism and, 47; photography
and, 501124, 151
Obscura, II 1n32
Observation, verification of, 125
Ochs, Adolph, 501124
Oeuvre, 32, 88; contents of, 31; defining, 30
Old Curiosity Shop, The (Dickens), quote
from, 159
Oliveros, Pauline, 89
O’Neill, Eugene, 97
Ortega, Daniel, 9om7
Ortega y Gasser, Jose: on decline of quality, 88
Ortiz Echagiie, Jose, l II 1124
Osborn, Fairfield, and Curtis, 142
Other, co=unication and, 14
P
Pacific International Photographers’ Association,
CC and, 91
“Pageant of Photography, The” (exhibit),
Adams and, 95
Palante: Young Lords Party (Abramson), 42
Palfi, Marion, 42, 49nr 3, 154n9
Paper calotype, rr 7
Papert, Seymour: on computers/children,
87
Paradise Lost (Milton), 123
Pare, Richard, 48n2
Parker, William: on eyes/photography, rr8
Parks, Gordon, 49nr2
Partridge, Roi, 94, 99
Passion, 7
Paz, Octavio, 88
Peckinpah, Sam, 5 5
Penn, Irving, 160
Pepys, Samuel, 123
Perrault, John: on art criticism, ro
Persistence of vision, 71
Persuasion, art and, 19
Pemrrbation theory, photography and, 161
Phillips, Christopher: on photomontage, 69
Phillips, Donna-Lee. 4-: on phorojoumalism,
46
Phococollage, xx, 68, 8:-; iie-,
791125; photomontage and, 65, 67, 69—70,
75-76, 77, 791124; purists and, 71; realism
and, 73; roots of, 70; Surrealist, 65, 66
“Photo-Document, The” (Adams), 99,104
Photo-documents, 104
Photogram, II7
Photographic culture, rr6
“Photographic Magic of William Mortensen,
The” (exhibit), rrrn32
Photographs: about culture/of culture, 136;
as collaboration, 57; collecting, 4; data/
information on, 151; making, 83; objective
generation/interpretation of, 134,
147; op inion/fiction and, 58;
predictability /literalness of, 72; as work of
art, 82
Photography: arr and, nii; digitized, 6 5;
gaps in literature aboUI, niii.; iruroduction
of, rr7, 159; vernacular, -‘3, s-; ,isual
sophistication of, 82-83, 84, II5
Photography (Upton and Upton), 35
“Photography 18 39-1937” (exhibit), Newhall
and, 96
Photography ptogran1s, 84, 171
Photography Sesquicentennial Project, 43
194 INDEX
Photojournalism, 35, 40, 159; described, 36,
37-38, 44, 47; key works of, 42; methodology
for, 46; objective/non political,
47; pioneers of, 45-46; self-defeating attitudes
and, 48; technology and, 43-44
Photo League, 41
Photo Metro, 4
Photomontage, xx, 68, 78n10, 87; as
analogue/metaphor, 74; artificiality of, 72;
authentic, 69; Dada, 66; daguerreotype,
791125; decline of, 73; defining, 70, 71,
77n4; photocollage and, 65, 67, 69-70,
75-76, 77, 791124; process of, 72-73; realism
and, 73
Photormmtage (Ades), 67
Photo opportunity, 39
Picasso, Pablo, 85, 89; on artists, 15; on criticism,
5
Pictorialists, 140; purists and, 95, 105-7
Pictorial Lighting (Mortensen), 94
Picture-making, 76; evolution of, 65; intervening
in, 163-65
Pictures of East Anglian Life (Emerson),
156n29
Pierpont Morgan Library, Curtis and, 134
‘-1’imaKi”‘ (Curtis): reproduction of, 147;
Curtis caption for, 184
Plagens, Peter, 89nr
Plainsman, The, Curtis and 154nr2
Plate glass, rr9
Playboy, rr6; Wilson in, rr5
Political effectiveness, 41-42, 47, 48, 511125;
defining, 501124; ideological correctness
and,42
Pollitt, Katha, 521125; on postmodernists, xxi
Pollock, Jackson, 24n31
Popular art, 88, 173
Porta, Giovanni Battista della, 125
Positive-negative processes, 83
Postman, Neil, xix, 131n43
Pound, Ezra, 19, 97; on artists, 64
Power, Henry: metaphor of, 123; on
telescope/microscope, 122
Power, Mark: criticism by, 4
Prephotographic culture, rr6, 121
Press photography, 45; defining, 35, 38-39
“Principal Female Shaman of the Hupa”
(Curtis) : reproduction of, iv; Curtis caption
for, 18 3
Printing: combination, 68, 72, 77n4; photographic,
70, 97; woodblock, rr8
Professional artists: audience and, 13-14;
critical discourse and, 18; financial success
for, 23031
Projection Control (Mortensen), 94
Propaganda,104, 105
Ptolemy, n8, 121
Public discourse, 9, 19, 22Jl4· quality/
quantity of, 2
Purism, 1 ro.1110; pictorialism and. 94-96, 105-7
Q
“Quest for Pure Form, The (Mortensen), 99; reproduction of, 101
R
Radical, criticism and.
Radio telescope: 126, 1- i- message reproductions
of, 12-. P
Ramirez, Sergio, 90.n 1-
Rauschenberg, Roben. -6
Ray, Man, 79028; Oil cri:ricism., 7 12;’0.n
nonphotograph.ic dana:us, 1
Reagan, Ronald., 40
Realism, photocollagc phoromontage and,
73
Reality, reproduction of, 5-
Recontextualization, cboughts on, 162-63
Redaction, 2-, 29, o-3 1
Red Hawk, 151
Reflections upon.Ancient and Modern Learning
(Wotton), 123
Reissman, \\, ,>Il26
Rejlander, 0. G 69, 9I122· direaorialism
and, 60; phoromontage and, 6-, -Religion,
artists and. 1′”‘2-
Representation, ua=..;:,;.
Reproduction qu:ili _–.
R£surrection Ci.ty Frccc= . 2
Richards, Eugene, 5 I
Richards, I. A., 15
Riefenstahl, Leni, 18-19
Riis, Jacob: documenra,· and. 40; photojournalism
and, 159
Ritch.in, Fred, 43-44 49m6
Rizzuto, Angelo, 30
Robinson, Henry Peach, 69, -9I122; directorialism
and, 60; photomontage and, 67,
73
Rodriguez, Sebastian, 5onr8
Rogovin, Milton, 42
Rnsa Ursinasive Sol (Scheiner), 122
Rosenbaum, Ron: on self-parody, 52n25
Rosenberg, Harold: on criticism, 16-17
Rosenblum, Naomi, 69; on Curtis, 140;
Mortensen and, 109; on photomonrage/
photocollage, 67
Rosier, Martha, 5rn25, 77n3
Rouson, John Henry: cartoon by, II5-16;
reproduction of, rr6
Rubin, William, 69; on photomontage/
photocollage, 67
Ryle, Gilbert, 151
S-Z
S
Sackrey, Charles, 88
Sagan, Carl: on radio telescopes, 126
St. Augustine, II8
Salgado, Sebastiao, 44
Sander, August, 37, 41
Sartre, Jean-Paul, 42
Scharf, Aaron: on Ernst/Heartfield, 67
Scheiner, Christophorus, 122
Scholarship, xx-xxi, 31, 32
Schulze, Johann Heinrich: image-making
and, 124
Schwarz, Heinrich: on photography, 124
Science, photography and, 82,117,126,151
Scully, Julia, 30
Seagram’s “Courthouse” project, 48112
“Seeing Straight” (exhibit), Newhall and,
109, l 101115
Sekula,Allan,511125
“Selections from the Collection: Dada and
Surrealism” (exhibit) 66
Self-criticism,
Sdf-aprcssion. 13, I
Sara, Richard. l 6, l –
Scrrano,Andres, 17,23n32
Shakespeare, William, 93
Shavelson, Lonny, 5om8; on photography,
27
Sherman,C indy,5 6,6 omo;d irectorial and,
60119
Siderius Nuncius (Galileo), 121, 13om8
Sight gags, 115
Silk, Gerald, 791124
Sinunons, Laurie, 58
Sinclair,U pton, 43
Siskind,Aaron, 31, 75
Sitney, P. Adams: on criticism, 6, 7
6oMinutes, photojournalism and, 49115
Sketchbooks, computer-imaged, 88
Skoglund, Sandy, 59
Smith, Aileen, 41, 42, 511125
Smith, Paul Chaat: on Curtis, 1551123
Smith, W. Eugene, 41, 44, 4911119, 12, 5on23. 51n25,611117,97,157n4o; on journalism
Smith, W. Eugene (cont.)
objectivity, 47; Mortensen and, ro9-
ron8; photojournalism and, 37; work of,
42
Sobieszek, Robert: on photomontage, 67
Social research, photography and, r 3 3
Social Text, xxi, 52n25
Socrates, criticism and, 5
Sokal, Alan, xxi, 521125
Solomon-Godeau, Abigail, 50-52n25
Somnium (Kepler), r22
Sontag, Susan, 32, 34nr2, 6on6; on photography,
160
Space, 58; place and, 59; symbolic compression
of, r25
Spengler, Oswald: on lens, cultural impact
of, r25
Spielberg, Steven, 55
Springs Industries, grant from, 27
Standard Oil project, 48112
Starn, Doug: photocollage/photomontage
and, 70
Starn, Mike: photocollage/photomontage
and, 70
Srasz, Clarice., 143, 153
“Steel Srod:s Ad\’ana: iorrensen , 99: reproduction
of, 103
Steichen, Edward, 23n31, 49n7, 107-8,
r ronr4; photomontage and, 73
Stevenson, Robert Louis: on enthusiasm for
art, 16; on writing, x.i
Stieglitz,Alfred, 23n31, 160; photomontage
and, 73
Stock Photographs (Winogrand), critique of,
26
Strand, Paul, 41, 157n40, 160; photomontage
and, 73; purist approach of, 73
Streep, Meryl, 23n31
Street Life in London (T homson), r59
Street photography, 159, 160
Stress analysis, –8, 9, 23n2r
Stryker, Roy, 41, -+8=
Subcommander Insurgent Marcos, communique
by, 165-68n5
Suffer, Little Children (Palfi , 42
Sup, 167-68n5; photographs by, 166-6-n5
Surrealism, photography and, 68
Suspension of disbelief, 58
Swift, Jonathan, 123
Szarkowski, John, 29, 30; on Curtis, 140; on Curtis/Emerson, 156n29; on North American Indian, 133; on Winogrand, 27-28
T
Tabard, Maurice, 72
Talbot, William Henry Fox, 13on37;
negative-positive process and, 70
Teaching artists, contracts with, 172
Technology, 43, II3-14; art and, 81-82, 85,
87; communications, 2; epistemology
and, 87; imaging, 87-88; invisibility of,
114; photography and, 82, 86; problemsolving
and, 44
Telberg, Val, 72; photomontage and, 67, 73
Telescopes, II?, 126; impact of, 120-22,
124; references to, 122-24
Ten Commandments, The ( DeMille), Curtis
and, 154n12
Teske, Edmund, 8on37; photomontage and,
71, 73
T heory, issues of, xvii
T homson, John, 159
T horeau, Henry David, 2
T horne-Thomsen, Ruth, 59
T hornton, Colleen, vii, xv
“Tilted Arc” controversy, 16
Tintype, 83
“Tomoko Uemura in her bath” (Smith), 41
Totalitarian forces, art and, 18-19
Tracey,Andree,59
Tress, Arthur, 59
Tretyakov, Sergei, 78nm; on Heartfield, 66;
photocollage and, 69
Tribal society, artisanry and, 81
Triumph of the Will ( Riefenstahl), 19
Troeller, Linda, 5onr8
“Truro, Massachusetts” (Evans), 74
Tuchman, Barbara: on decline of quality, 88
Turner, G. l:Estrange: on photography/
science, 126
Tweedy-Holmes, Karen, xviii
U
Uelsmann, Jerry N., 72, 78n4, 79n37; photocollage
and, 69; photomontage and, 71, 73
Untitled ( Arb us), 3
US. Camera Annual, II rn34
U.S. Supreme Court, on garbage/privacy,
33nr3; Yeshiva University decision, 172
V
Valery, Paul, 15
Van Der Zee, James, 76
Van Dyke, Willard: Mortensen and, 94
Van Gogh, Vincent, 89
Vargas,K athy,v ii,x v,r 58n
”Venus and Vulcan: An Essay on Creative
Pictorialism” (Mortensen), 99
Vestal,D avid,2 31131
Vietnam, Inc. (Griffiths), 42
Village Voice, 2m3, II4
Villegle, Jacques: affichisrne and, -4–5
Visible Light (Lesy), 30
Vision, persistence of, 71
Visual anthropology, 134- P5, 1-1.1, 151,
153, 1541110
Visual Arts: A History, Tix (Honour and
Fleming), 66
Visual images, 63, ll , 1301141
Vroman, Adam Clark, rs+n9
W
Waddell, Edward W.: on technology/community
and social stratification, 86
Wagner, Jon: on social research/photography,
133
Walcott, Charles Doolittle, 142
Wanamaker, Rodman, 1551113
Warhol, Andy: famous prophecy of, 85
Wayne, Cynthia, 6
Weber, Nicholas Fox, 29
Weegee (Arthur Fellig), 160
Weiner, Norbert: feedback loop and, 15
Western civilization: art and, 85; photography
and, 116,125
Weston, Brett, 34m4
Weston, Charis, 108
Weston, Cole, 108
Weston, Edward, 31, 59; Blumann on, 91-
92; f.64 Group exhibition and, 92; Mortensen
and, 94, 95, 109117; photomontage
and, 73; purist approach of, 73
Wet-plate methods, 8 3
“What is Good Photography?” (Partridge),
99
“What is Pictorialism?” (Newhall), 96
White, Lynn, Jr.: on technology, II 3-14
White, Minor, 25, 611117, 97; on critics, 11
Whitney Museum, Haacke at, 5om7
“Who Is Speaking Thus?” ( Solomon-
Godeau), 51-521125
Wilson, Galian: cartoon by, n5; reproduction
of, 115
Winningham, Geoff, 42
Winogrand, Garry, 28-29, 31, 6m12, 160;
critique of, 26; press release about, 27-
Witkin, Joel-Peter, 20, 58
Wollaston, William Hyde, 125
Woodman, Francesca, 30, 331110
Worth, Sol, 143; on photograph/culture..
136
Wotton, William: on telescope / microscope.. 123
Writing, 25; communication and, 84
Wulz, Wanda, 76
Wylie, Philip: on critics, 5
XYZ
Yeager, Bunny: and Sherman, 601110
Young, George Allen: Camera Craft and, 91.
92-93
Youngblood, Gene: on montage as collage,
71
Zabriskie Gallery, Villegle at, 74
Zapatistas, communique from, 165-68115
Zedillo Ponce de Leon, Ernesto, 166115
Zola, Emile, 43