Solomon-Godeau, Abigail

Photography at the dock

Solomon-Godeau, A. (1994) Photography at the dock. Minneapolis: University Of Minnesota Press


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QuotesContentsIndex


Quotes

text


Contents

Illustrations

Foreword by Linda Nochlin

Acknowledgments

A Note on the Essays

Introduction

Part I. THE POLITICS OF AESTHETICISM

1. Calotypomania: The Gourmet Guide to Nineteenth-Century Photography

2. Canon Fodder: Authoring Eugene Atget

3. The Armed Vision Disarmed: Radical Formalism from Weapon to Style

Part II. PHOTOGRAPHY AND POSTMODERNISM

4. Playing in the Fields of the Image

5. Photography after Art Photography

6. Living with Contradictions:

Critical Practices in the Age of Supply-Side Aesthetics

Part III. RETHINKING DOCUMENTARY

7. A Photographer in Jerusalem, 1855: Auguste Salzmann and His Times

8. Who Is Speaking Thus? Some Questions about Documentary Photography

9. Reconstructing Documentary:

Connie Batch’s Representational Resistance

Part IV. PHOTOGRAPHY AND SEXUAL

DIFFERENCE 219

10. Reconsidering Erotic Photography: Notes for a Project of Historical Salvage

11. Just Like a Woman 238

12. Sexual Difference: Both Sides of the Camera

Notes

Index


Index A-C

Compiled by Theresa Wolner and Eileen Quam

This is an immensely long and detailed index: congratulations are due to Messrs. Wolner and Quam. It is presented in its raw, unedited state and is likely to stay that way.

A

Abbey and the Town of Saint

Antoine en Dauphine, The

(Baldus), 14, 16

Abbott, Berenice: on Atget, xv,

28-51 passim; and feminist

representation, xv, 35; and

portrait photography, 35

Abbott-Levy Collection, 37

Abt, Karl: and Atget, 30, 41

Academic (nude study), 223,

229, 231

Academy (Anonymous), 224

Academy (Durieu), 226, 227

Accessibility, 191

Activist photography, 79

Adams, Ansel: and art

photography, 48, 80;

Callahan on, 77

Adams, Robert: and landscape

photography, 106

Adamson, Robert: and

calotype, 21, 110;

exhibitions, 52; and portrait

photography, 14, 111

Adolphe Braun & Cie., 154

Adorno, Theodor: and aesthetic

theory, 215, 28311; on

woman, 210

Advertisement: vs. art, 132,

140-43; German, 64; and

image, 86, 90—91, 96, 128;

and scale, 277-78

Advertisement (Dior), 138,

139–40

Aesthetic theory: and art

theory, 13; and

connoisseurship, 5, 6; and

Frankfurt School, 28311; and

history of photography, 52;

of the Left, 28311

Aestheticization, 113, 190

After Walker E11ans (Levine),

129, 130

“Against the Synthetic Portrait,

For the Snapshot”

(Rodchenko), 58

AIZ covers (Heartficld), 144,

145

Albumen, 14, 28811

Alexander, Vikky: and

postmodernism, 88-92, 94,

100, 127, 131

“Alfred-Nicolas Normand et

!’Art du Calotype” Oammes

essay), 11

Aloe: Pompeii, An (Normand),

14, 15

Amateurism, 20, 110

American Container

Corporation: advertising

series, 75

American Exodus, An. (Lange

and Taylor), 179

Americans, The (Frank), 119-20

309

Ancien Regime, The (Atget), 48

Anglo-American formalism.

See Formalism

Annan: and calotype, 21

Anonymous photographs, 224,

228, 230, 231, 235, 236

Antal, Friedrich: on art

production, 5

Anti-individualism: of radical

formalism, 56, 73

Anti-pornography lobbyists,

221

Antiquarianism, 5

Aperture, 9, 52, 80; and Light

Gallery, 134

“Appropriating Appropriation”

(Crimp essay), 132

Arago, Fran,;;ois: and

assimilation of photography,

20

Architecture: Nineteenthcentury

France, 157; and

photographers’ training, 153;

in photography, 157

Arrangement (Lawler), 126

Art & Ad11ertising: Commercial

Photography by Artists

(exhibition, 1986), 143

Art history, 4-6; Panofsky on,

28511; and photography, 6

Art Institute of Chicago:

calotype exhibition, 6, 20, 26;

early French photography

exhibition, 9, 10

Art market, 4, 124

Art of French Calotype, The,

8-23 passim

Art of Memory/The Loss of

History, The (exhibition), xix

Art of Old Paris, The (Atgec), 48

Art photography, 86-102,

150-51; academizacion, 112;

aesthetic of, 87-88;

American, 75, 77-84; Atget

and, 27; and authorship, 44;

and history of photography,

52-53; and image, 88;

influences, 110; vs. Institute

photography, 74, 75; and

modernism, 56, 86, 123; and

postmodernism, xxvi, 86-102

passim, 103-23, 124–48

passim, 192; quality of, 112;

and radical formalism, 52; vs.

straight photography, 192;

tradition of, 109. See also

Modernism

Art practice: critical, 191, 193;

feminist, 215; postmodernist,

192, 193, 215; radical

cultural, 215

Art theory : Janis’s use of, 13

Ariforu111, 100

Artist: as author, 29-30,

114-15, 117; defined, 17

Art11ews, 125, 133

Asher, Michael: art practices of,

146

Atget, Eugene, 32, 36, 43, 45,

49, 50; aesthetic vs. historical

context, xiv; in America, 35,

37; and art photography, 27;

as author-father, 30; and

authorship, xv, 28-51;

canonical treatment of, 29-51

passim; and commercial

photography, 46; exhibitions,

38-39; genius of, 10; and

realism, 28, 31, 33; subjects

of, 47; and surrealism, 28,

31, 33, 35

Audience: of docume11tary

photography, 178, 183

Auterisrn, 23, 48

“Author as Producer, The”

(Benjamin essay), 189

Authorship: and artist, 29-30,

114-15, 117; and Atget,

29-51; and Barthes, 117;

defined, 29; and function,

29-30; and Prince, 96-97

Avant-garde: German, 60,

62-73; Hungarian, 74;

photographic, 60; Russian,

60; significance of, 131

Aztec Crevice (Simmons), 139

B

Baim, Richard: montage of,

272, 274

Baldessari, John: and

postmodernism, xxvi, 88,

114, 192

Baldus, Edouard-Denis, 16; and

calotype, 14; and

documentary photography,

155; and mechanical

reproduction, 153; painting

of, 153

Banville, Armand de: and travel

photography, 159—60

Barclay Street Elevated Station

(Abbott), 38

Barr, Alfred H.: on

Rodchenko, 284n

Barrow, Thomas: and

formalism, 84

Barthes, Roland: on authorship,

29, 30, 117, 127; on Brecht,

217; on photography, xxiii,

xxiv, 43-44, 91, 93, 103, 182,

184-85, 190, 270; and

postmodernism, 86, 90; on

realism, 170, 180, 182, 189

Bathsheba (Rembrandt), 232

Baudelaire, Charles: on

daguerreotype, 153; on

obscenity, 222, 229

Baudrillardism, xxvii, 96, 132

Bauhaus: and Bolshevism, 70;

in Dessau, 52, 70-74 passim;

and formalism, 52-53, 68-71,

75; and functionalism, 70, 76;

instructors, 70; and

photography, 73, 75, 82. See

also Chicago Institute of

Design; New Bauhaus

Bay er, Herbert: advertising

design of, 75

Beato, Antonio: and

documentary photography,

173

Beato, Felice: and documentary

photography, 159, 171

Beauty in Photography: Essays in

Defense of Traditional Values

(Adams), 106

Becher, Bernd: and

postmodcrnism, xxvi, 88,

114, 116

Becher, Hilla: and

postmodernism, xxvi, 88,

114, 116

“Before Photography”

(exhibition, 1981), 25, 52

Belcher, Alan: and

postmodernism, 135

Benjamin, Walter, xxiii, xxxiv;

on art, 84, 87, 106, 133, 145;

on Atget, 28, 29, 31;

documentary critique of,

XXX, 148, 182, 187, 188, 189,

191, 193, 215; on the

historian, xxi, xxxi; on

history, 4; on miniaturization,

157; on photography, 31, 68,

157, 176, 190, 193, 205

Bennett, William, xxxi

Berenson, Bernard, 5, 9; and

Gernsheim, 8; and Jam mes, 8

Berger, John: on nudes, 232

Beveridge, Karl: and

documentary photography,

183, 192

Bibliotheque Nationale: Atget

in, 44

Bildraurn, xxxiv

Bing, Ilse: self-portrait of, 219

Bisson Freres, 14, 153

Blanquart-Evrard: calotype

refinements of, 12, 14;

printing by, 14, 16, 151, 153

Blondeau, Barbara: and

formalism, 53, 84

Bloom, Harold: on artistic

influence, 40, 119

Blossfeld, Karl: and formalism,

68

Bolshevism: and Bauhaus, 70

Borcoman, James (curator), 24

Boulevard de Strasbourg, Corsets

(Atgct), 36

Bourdieu, Pierre: on social uses

of photography, xxiii, 171

Bourne, Samuel: and

documentary photography,

171

Bowery in Two Inadequate

Descriptive Systems, The

(Rosier), 120, 122-23, 135,

183

Brady, Matthew: and

documentary photography,

171

Braun: tourist views of, 151

Brauntuch, Troy: and

postmodernism, 115

Brecht, Bertolt: documentary

critique of, xxx, 148, 170,

176, 182, 187, 189, 191, 193,

194, 207, 217

Breton, Andre: and Atget, 33,

48

Brettell, Richard (curator):

British calotype exhibition,

20; and calotype, 6, 8, 20, 24,

26

Bridges a11d Tiams (Woodman),

253

Bright, Deborah: and

documentary photography,

183

Brik, Lily: and Soviet

formalism, 70

Brik, Osip: and formalism, 57,

60, 70

Britain: calotype in, 6, 9, 12,

20, 21

Broodthaers, Marcel: art

practices of, 146

Brown, Beverly: on eroticism,

232

Buchloh, Benjamin H. D.: on

postmodernism, 127

Buerger, Janet E. (curator):

calotype exhibition, 6, 8, 23,

27

Bunnell, Peter: on art

photography, 113-14; and

calotype sy mposium, 24

Burden Gallery: postmodernism

exhibition, 134

Buren, Daniel: art practices of,

146

Burger, Peter: and critical

postmodernism, 131, 146

Burgin, Victor: criticism of,

xxiv; and documentary

photography, 182, 187; and

film theory, xxxiii; on

photography, 180; photo/text

works of, 88; and

postmodemism, 114, 127,

145, 192; on Winogrand,

XXVIII

Burning series (Lewis), 259

Burty, Philippe: on worldwide

scope of photography, xxii,

10

C

Callahan, Harry, 78, 269; and

art photography, 77, 79, 106;

and Bauhaus, 76-80 passim;

and formalism, 53, 74, 76,

79, 80, 84

Calmette, Andre: on Atget, 28

Caloty pe, 6-27, 152-53;

aesthetic, 12, 14, 17, 20,

22-23, 27; attributes of, 14;

British, 6, 9, 12, 20, 21, 26;

vs. daguerreoty pe, 153;

defined, 11, 14; exhibitions,

6, 8; experimental, 12, 28711;

French, 6-27, 286n;

portability of, 153; processes,

14, 153, 28811; qualities of,

1-i; reign of, 12, 16-17

“Caloty pe and the Photography

Exhibition of the Society of

Arts, London, 1852-53, The”

(Flukinger essay), 22

Camera: developments in

technology of, 62; 8 x 10

view, 110; transcriptive

capacities of, xxviii

Camera obscura, 189, 274

Camera vision, 71, 73, 77

Camera Work: and art

photography, 107, 110, 112

CameraArts, 112

Cameron, Julia Margaret: and

albumen prints, 110;

exhibition, 52; genius of, 10

Canadian Center for

Architecture, 28611-8711

Canon: defined, 39-40;

formation, 29, 35-38, 41,

118; and tradition, 39

Capitalism: in photography, 269

Caponegro, Paul: and art

photography, 48

Caption, 183, 193

311

Carte-de-visite, 17, 31, 154, 237,

28711. See also Tourism

Cartier-Bresson, Henri: and

street photography, 197

Castration: in photography,

245, 249

Censorship, 221

Centipede (Cypis), 277

“Change the Object Itself’

(Barthes essay), 90, 189

Charles Egan gallery : Siskind

exhibitions, 80

Charles Nkf?re, photographe,

1820-1880 Qammes), 9

Charlesworth, Sarah: and

postmodernism, xxxiii, 114,

127, 256, 270—71, 274

Charlie the Model (Woodman),

248

Charnay, Desire: and

documentary photography,

168, 171, 172

Chauffeur, Karelia (Rodchenko),

58, 59

Chicago Association of Arts

and Industries: and New

Bauhaus, 74

Chicago Institute of Design:

and Bauhaus, 74-77;

curriculum of, 74; and

formalism, 53, 74; and New

Vision, 52; and teaching and

practice of photography, 74

Chicago School, 53, 82

China, the Taku Forts after the

Anglo-Fm,ch Attack (Beato),

173

Chodorow, Nancy: and sexual

difference, 274-75

Christo: and postmodernism,

89

Church of San Marco (Quinet),

158

Clair, Jean: on erotic vision,

229-30

Coburn, Alvin Langdon: and

art photography, 110

Cocktails (Majore), 137

Collaborative photography, 154

Collectivism: vs. individualism,

179; and radical formalism,

56, 73-74

Collodion negative, 14, 16, 153

Colonialism: and photography,

159

Commercialization, 110, 150,

154; and Atget, 46; and

postmodernism, 143

Communard atrocities:

documentary photographs of,

Xlll-XJV

Composition: and painting, 161

Conde, Carol: and

documentary photography,

183, 192

Condition of the Working Class in

England, The (Engels):

absence of photographs in,

172

Connoisseur, _xxvii

Connoisseurship, 5, 6, 8, 21,

23; Gernsheim on, 286n;

Jammes on, 286n; and

modernism, 118; in

nineteenth century, 128

Connor, Linda: and formalism,

84

Constructivism: vs.

expressionism, 56; and

Moholy, 60, 62; and politics,

131; of Rodchenko, 56

Contextualism, 25

Copy right: and photography,

150

Copy-stand photography, 157

Corporate collections: vs.

private collections, 9-10,

286n

Courbet: and realism, 12

Crane, Arnold, 10, 25, 287n

Crane, Barbara: and formalism,

84

Crimp, Douglas: criticism of,

xxiv, 132; on

postmodernism, 86, 104, 127

Critical Interventions

(exhibition), xxxiii, 266

Critical practice, 12􀂨8. 191;

and critic, 146-48; defined,

143-44; and political practice,

145

Criticism: and art photography,

87, 109; and authorship, 44;

and critical practice, 146-48;

function of, 22, 124;

influence of, 138; literary,

127; and modernism, 118;

and opposition, 125, 127;

postmodernist, 12􀂨8 passim;

and tradition, 52, 109

Cromer, Gabriel: collection of,

229

Cunningham, Imogen: and

sexual difference, 260–61, 262

Cypis, Dorit: and sexual

difference, 276-77


D-L

D

D. Art, 194

Dada, 56, 60, 131, 187, 189

Daguerreotype: vs. calotype,

11-12, 153; centenary, 110; in

France, 11-12; hand-colored,

235, 236; nudes, 223, 225;

stereoscopic, 229

Damascus Gate (de Clercq), 166

Damasws Gate (Salzmann), 167

Davis, Lynn: and sexual

difference, 256

Day, F. Holland: and art

photography, 48; exhibition,

256; and modernism, 87; and

sexual difference, 256

“Death of the Author, The”

(Barthes essay), 117

Death of the Due de Guise

(Delaroche), 153

de Beauvoir, Simone: on

women, 238, 239

Debord, Guy, xxiii; on society

of the spectacle, xxvii, xxxiv

de Boulogne, Duchenne:

Sobieszek on, 25

de Brebisson, Louis-Alphonse,

14, 18

de Clercq, Louis, 11, 154, 159,

164, 165, 166; and calotype,

12

Deja-tu, 103

Delacroix, Eugene: and

calotype, 153; and erotic art,

223

Delaney, Janet: and Connie

Hatch, 194

Delaroche, Paul: and art theory,

13; on painting, 153

Demachy, Robert: and

pictorialism, 110

Dennett, Terry: and sexual

difference, 269

De Palma, Brian: and

postmodernism, 86, 132

Depression era: ES.A.

photographs, xiii, 179

312

de Saulcy, Louis Ferdinand:

Salzmann and, 154, 159, 161,

165

Designer-engravers: and

photographers’ training, 153

de Stijl, 56

De Stijl Uournal), 71

“De-Sublimation of Romance,

The” (Hatch), 120, 191, 192,

196-200, 275

De-Sublimation of Romance, The

(Hatch, 1977), 200

De-Sublimation of Romance, The

(Hatch, 1978), 121

De-Sublimation of Romance, The

(Hatch, 1979), 198, 201

Detroit (Callahan), 77

Deutsche, Rosalyn: on Lawler,

280

Diamond, Hugh: Sobieszek on,

25

Didactic montage, 270

Dieppe Harbor (Le Secq), 26, 27

Difference: On Representation and

Sexuality (exhibition), 256

Dining Room of a Worker, rue

Romainville (Atget), 45

Dior, Christian: advertisement,

138, 139-40

Disderi: and carte-de-visite, 151,

154, 287n; and calotype, 12

“Dismantling Modernism,

Reinventing Documentary”

(Sekula), 86

Dixon, Henry : and Atget, 30,

41

Documentary photography,

xxvii-xxx, 169-83, 184-217;

vs. aesthetic, xiv, 165-68,

283n; and archaeology, 151;

of architecture, 155; of A tget,

30; in courtroom, 169;

defined, xiii, xxvii, 169-70,

182; and gender, 190; of

historic sites, 155; history of,

170, 171; in mass media, 170;

and moralism, 171, 180; as

photographic mission, 154;

and politics, 77, 176, 182;

postmodernist challenge to,

xxix; practices, 77, 171, 172,

182, 183, 188, 194; vs.

production, 170; of ruins,

155; and sexual difference,

xv; Siskind abandoning, 80;

and subjugation, 176; as

truth, 188

Dougan (Robert 0.) Collection

of Historical Photographs

and Photographic Literature

(exhibition), 8

Du Camp, Maxim, 24, 154,

159; and calotype, 12, 16;

Janis on, 17

Duchamp, Marcel, 2; and

postmodernism, xxvi, 104,

114, 131, 136

Durheim: and Salzmann, xxix,

23, 154

Durieu, Jean-Louis Marie

Eugene: and erotic

photography, 223, 225, 226,

227

Duveen, Joseph: and art

dealing, 5

Dvorak, Max: on art

production, 5

Dy an, Bob: on woman, 238, 239, 255

E

Eastman (George) House:

calotype exhibition, 6, 8, 23;

and nude studies, 223, 229

“Edge of Illusion, The”

(exhibition, 1985), 134

Education sentimentale, L’, 13

Ejfet du reel, L’, 170

Egan (Charles) Gallery : Siskind

exhibitions, 80

Eggleston, William: and

noncommercial color

photography, 20; Szarkowsi

on, 43, 44

Egypt: French photographic

activity in, 23

Egypte, Nubie, Palestine et Syrie

(Du Camp), 154

Ehrenburg, Ilya: on sociopolitical

art, 57; and Soviet

formalism, 62, 70

Eleanor (Callahan), 77, 78

Eliot, T. S.: on canon, 39-40

Empress Eugenie at St. Cloud (Le

Gray), 156

Engraving: and photographers’

training, 153; in

photography, 157

INDEX

“Era of the French Calotype,

The” (exhibition), 6, 8, 23,

27

Erotic photography, xv-xvi,

xxxi-xxxii, 220–37, 261; vs.

aesthetic, 232; feminist view

of, 220; homosexual, 221,

235; vs. pornographic, 221;

and staging, 232; of

Woodman, 245. See also

Pornographic photography

Esprit Nouveau, L’ Uournal): on

Bauhaus, 71

Eugene, Frank: and

pictorialism, 110

Evans, Walker: and art

photography, 106, 112, 119,

135; Atget and, 37; and

documentary photography,

81, 120, 178; and F.S.A.

project, 127, 178; Levine and,

127-28; and modernism, 112;

and street photography, 197

Evidence, 186

Excursions Daguerriennes

(Lerebours), 159

Excusado (Weston), 3

Exposition des Arts Decoratifs

(Paris, 1925), 57

Exposition Universelle (1855):

Salzmann exhibition at, 152,

165

Expressionism, 56, 143

F

Farm Security Administration:

and documentary

photography, xiii, 127,

176-79, 180, 190

Farwell, Beatrice: on media

explosion in nineteenthcentury

France, 222

Feininger, Lionel: and Bauhaus,

70

Feldman, Ronald: on art

photography, 113-14

Fellman, Sandi: and art

photography, 143

Femininity, 91, 212-14, 255,

263, 272

Feminist theory, 238-40, 258;

and art theory, 6; and

Benjamin, 190; contradictioris

in, 274; and erotic

photography, 222; as

313

political, 190–91; and

postmodernism, 215; and

self-representation,

xxxii-xxxiii; and sexual

politics, 196; on specularity

and patriarchy, 28511

Fenton, Roger: and art theory,

13; and calotype, 14, 20;

painting of, 153

Fetishism, 91, 106, 120, 244,

245, 248, 249, 250, 258, 280

Fragments fro111 the Real World

(Szarkowski), xxviii

Figure (Charlesworth), 271

Film studies, xxix

Film theory : and feminist

work, 190–91, 221, 2-14, 258

“Film und Foto” (exhibition),

73

Finslcr, Hans, 67; and

formalism, 64

“First Century of Photography:

Niepce to Atget, The”

(exhibition, 1977), 9, 10

Five Alarm Neighborhood

(Hatch), 196

Flash: magnesium, 175

Flat irons for Shoe Manufacture

(Renger-Patzsch), 69

Flaubert: on calotype, 13

Flukinger, Roy: on calotype, 8,

22

Form Follows Finance (Hatch),

xxx, 145, 191-97 passim, 195,

200, 202

Formalism, 53, 55, 60, 62, 80,

84; aesthetic theory of, 120,

283n; and Bauhaus, 52-53,

68-71, 75; Chicago School,

53, 82, 84; Greenbergian, 81;

literary, 58; and modernism,

xxii, xxv-xxvi, 80; and

Moholy, 71-73; and

productivism, 57. See also

Bauhaus; Modernism;

Postmodernism; Radical

formalism

Fortress on the Water, A (de

Clercq), 11

Foster, Hal: on postmodernism,

xxvii, 125

Fotokultur, 53, 60

Foucault, Michel: on

authorship, 29, 30, 127; on

productive dimension, xxiii

Fountain (Duchamp), xxvi, 2

Frailey, Stephen: and

postmodernism, 135, 143

France: calotype production in,

6, 8, 11-12

Frank, Robert: and

postmodernism, 112, 119;

and street photography, 197

Frankfurt School: aesthetic

theory of, 28311; and critical

practice, 140

Frau Kesling (Kesting), 63

“French Calotype and the

Picturesque, The”

(Hambourg), 23

French primitive photography,

8, 150, 151, 166; and Atget,

30; exhibition, 9; Jammes

collection of, 9; Nadar on,

150; Salzmann and, 151. See

also Calotype

Freud, Sigmund, 33, 46, 245,

248, 249, 280

Freund, Giselle: and

photographic scholarship,

xxiii, 17

Friedlander, Lee, 275, 284n; and

Atget, 40; and

postmodernism, 119, 120,

199; and self-referencing, 58;

and street photography, 197

Frith, Francis: and documentary

photography, 159, 171

From the Picture Press, 186

From the Radio Tower, Berli11

(Moholy-Nagy), 65

ES.A. See Farm Security

Administration

Functionalism: and Bauhaus,

70, 74

Funktionierung, 189

Futurism, 56

G

Gabo, Naum: and Soviet

formalism, 70

Galassi, Peter: exhibition, 25

“Garden of Earthly Delights,

A,” xxvii

Gee, Helen: on photography in

1950s, 77

Gelatino-bromide dry plate, 110

Gender: dilemmas, 199; and

documentary photography,

190, 199, 212; and

photography, xv, 256-80; and

politics, 131; in Woodman,

244

Genitals: in photography,

230–31

Germany: formalism in, 56-64

passim

Gernsheim, Helmut: and

Berenson, 8; on collecting,

28611; collection of, 20; on

history of photography, 8

Getty 0- Paul) Museum:

acquisition of collections for,

10

Gilbreth, Frank: labor

photographs of, xxiii

Gilbreth, Lillian: labor

photographs of, xxiii

Gilman, Charlotte Perkins: and

sexual difference, 252

Gilman Paper Corporation:

collections of, 28611-8711

Giza: Sphinx and the Pyramid of

Chephren (Banville), 160

Gloeden, Baron Wilhelm von,

257, 260, 263-65

Godard, Jean-Luc: and critical

practice, 132

Golden age: in early

photography, 8, 28611

Goldstein, Jack: and

postmodernism, 115

Gorny, Hein, 66; and

formalism, 64

Gorris, Marlene: and sexual

difference, 269

Gothic: Hugo’s advocacy of,

28711; in Woodman’s work,

244

Government: and photographic

missions, 159

Gowin, Emmet: monoprints of,

106

Graff, Werner: and formalism,

73

Graham, Dan: and

postmodernism, xxvi, 114

Graphic arts: and photography,

232

“Great Ideas of Western Man”

(advertising series), 75

Greenberg, Clement: and

modernism, xxv, 43, 80, 131

Greene,J ohn B.: and

documentary photography,

154, 159, 168

314

Grimes,J ohn: on New Vision,

52; on Siegel, 76

Gropius, Walter: and Bauhaus,

70–74 passim

Grossman, Sid: and formalism,

77

Grosz, George: photomontage

by, 62

Grundberg, Andy : on New

Bauhaus, 79

Gustave Viaud, photographe de

Tahiti 1858 Qammes), 9

H

Haacke, Hans: and political art,

xxii, 146, 147

Hambourg, Maria Morris: on

Atget, 28, 39, 46; on

calotype, 23

Hammer, Armand: and

formalism, 64

Hartmann, Sadakichi: and

postmodernism, 87

Hartshorn, Willis (curator): on

commercial photography

exhibition, 143

Hatch, Connie: and

documentary photography,

xxx, 183, 187, 191-217; and

postmodernism, xxxiii,

120-22; and sexual difference,

XXX, 240,260,275,276

Hauser, Arnold: on art

production, 5

Haussmann, Raoul: on

expressionism, 56; and

photomontage, 62

Health and Safety Game

(Lonidier), 145, 183

Heartfield,J ohn: Kruger and,

91; and photomontage, 62,

73, 183; and political art, 144,

145, 148, 187, 188, 189; and

realism, 183, 269

Heath, Stephen: on obscenity,

222

Heilbrunn, Franc;:oise: and

calotype sy mposium, 24

Heise, Carl Georg: on

sy mbolism, 68

Henneberg, Hugo: and

pictorialism, 110

High art, xiv, xxii, 193;

subjects, 107

Hill, David Octavius: and

calotype, 21, 110;

exhibitions, 52; and portrait

photography, 14, 111

Hine, Lewis, 48; and

documentary photography,

178, 180, 190

Histoire de la Photographie

(Lecuyer), 8, 166

History of photography, 4-6,

150, 165—68, 170; and

calotype, 8-10; and erotic/

pornographic photography,

220; and technological

innovation, 109-10; and

tradition, 52

History of Photography

(Gernsheim), 8

History of Photography

(Newhall), 8, 134, 223, 284n;

French translation of, 9

Hoch, Hannah: anti-positivist

approach of, 187; and

photomontage, 62

Hoffman, Michael: and French

primitive exhibition, 9

Holzer, Jenny: and

postmodernism, 145

Homosexuality : repression of,

256–57. See also Lesbianism

House series (Woodman): nos. 3

and 4, 252, 253

How the Other Half Lives (Riis),

173

Hughan, Allan: and

documentary photography,

174

Hugo, Victor: and calotype,

12-13, 28711

Hujar, Peter: and nude

photography, 265, 267

Human absence: in

photography, 159

Humanities Research Center at

the University of Texas,

Austin: British calotype

exhibition, 20

I

I Stopped Playing the Piano

(Woodman), 245

Illustrators: and photographers’

training, 153

Image, 58, 86, 104, 106, 128,

131, 183, 190

INDEX

“Image Scavengers”

(exhibition), 132

Immigrants: in photography,

176

Imperialism: and photography,

120, 159, 180

In Memoriam (Steichen), 109

“In Search of Myself’ (Siegel),

76

“In the Tradition of:

Photography” (exhibition,

1985), 134

Individuality: vs. collectivity,

179

Institute for Art and Urban

Resources, Long Island:

exhibition, 184

Institute of Contemporary Art,

Philadelphia: exhibition, 132

Institute of Design. See

Chicago Institute of Design

Institute photography: defined,

82. See also Chicago Institute

of Design

Instrumentality, 176, 191

Intentionality, 118

Interieurs Parisiens (Atget), 44

Interiors: and early

photography, 157

International Center of

Photography: exhibitions,

136, 143

Isaak, Jo Anna (curator), 269

Ivins, William: and calotype, 24

J

Jachna, Joseph: and formalism,

84

Jakobson, Roman: on art, 58

Jameson, Fredric: and

postmodernism, 132

Jammes, Andre: and Berenson,

8; and calotype, 8-24 passim,

28611, 287n; collection of,

8-9, 20, 22, 25, 287n; and

connoisseurship, 8 -9, 20,

286n; and French primitive

photography, 9; on golden

age, 8, 286n; influence of in

America, 9; and photographic

scholarship, 10, 20

Jammes, Isabelle, 28611

Jammes, Marie-Therese: on

French calotype, 9

Jammes, Paul, 8-9

315

Janis, Eugenia Parry: and

aesthetic theory, 13; on

Atget, 27; and calotype, 8-24

passim, 286n, 287n; on golden

age, 8, 286n; on Le Gray,

23-24

Jerusalem: Etude et reproduction

photographique de la ville sainte

(Salzmann), 151

Jerusalem, Valley of Josaphat

(Salzmann), 16, 152

Joachim, Hans: and formalism,

62

Josephson, Kenneth: and

formalism, 53, 84

Journal of Visual Communications,

25

K

“Kaloty pe in Frankreich, Die”

(exhibition, 1966), 11

Kandinsky, Wassily: and Soviet

formalism, 70

Kaplan, E. Ann: on women

and film, 258

Kasten, Barbara: and art

photography, 143

Keeler, Nancy: on calotypc, 8

Kelly, Mary : and

postmodernism, 145

Kesting, Edmund: and

formalism, 63

Kilgore, Sydney: on calotype, 8

Klein, William: and street

photography, 197

Kodak camera, 110

Kolbowski, Silvia: and

postmodernism, 127, 131

Kracauer, Siegfried: and

modernism, xxviii, 188

Kramer, Hilton: on modernism,

86; on radical feminist

movement, xxxi

Krauss, Rosalind: on artist, 17,

47; on Atget, 47; criticism of,

xxiv; on postmodernism, 86,

127, 133

Krims, Les: and selfrepresentation,

245

Kristeva, Julia: on Chinese

women, 238

Kruger, Barbara, 251; and

postmodernism, xxvi, 85, 88,

89, 91-95, 100, 107, 114,

127, 131, 132, 192, 240, 250,

252

Krull, Germaine: and

formalism, 68

Kuhn, Heinrich: and

pictorialism, 110, 112

Kunstwissenschajt: Atget and, 27;

Berenson and, 5, 9; and

postmodcrnism, 118

L

Lacan, Ernest, 13, 22, 155

Lacan, Jacques: on images and

sy mbols of woman, 238, 240,

245, 248

Lambert, Phy llis, 20, 21,

28611-8711

Lange, Dorothea: and

documentary photography,

149, 178, 179, 183, 188

Langlois, Jean-Charles, 22

Larson, William: and

formalism, 83, 84

Laurence Miller Gallery, 106

Lauretis, Teresa de: on feminist

theory, xxxi

Law: photography in, 169

Lawler, Louise: and

postmodernism, xxvi, xxxiii,

114, 126, 127, 133, 1–1-6, 240,

278-80

Lecuy er, Ray mond: on history

of photography, 8; on

Salzmann, 166

Le Gray, Gustave: and art

theory, 13, 287n; and

calotype, 12, 13, 1➔; and

documentary photography, 7,

153, 155, 156, 159; Janis on,

23-24; painting of, 153; and

waxed negative, 153; and use

of wet collodian, 1 ➔

Leo, Vince: and

postmodernism, 118-22

Lerebours: and travel

photography, 159

Lesbianism: in Hatch’s work,

209-11; in photography, 235.

See also Homosexuality

Le Secq, Henri, 26, 27, 151;

and art theory, 13; ironwork

of, 153; painting of, 153

Levine, Sherrie: and authorship,

96; and postmodernism,

INDEX

xxvi-xxvii, 86, 114, 117,

125-46 passim, 192, 240

Lewenz, Lisa: and documentary

photography, 183

Lewis, Mark, 256, 259

Librarie Paul Jammes, 9

Libraries: in nineteenth-century

France, 157

Light Gallery : and Aperture,

134; postmodernism

exhibition, 134, 135

Linked Ring: and amateurism,

20

Linker, Kate: exhibition, 256;

on Prince, 96

Lissitzky, El: anti-positivist

approach of, 187; and

formalism, 62, 70; Levine

and, 132; and social

transformation, 55

Literature and Revolution

(Trotsky ), 58

Little Fur, The (Rubens), 232

Liza Used to Have Long Hair

(Woodman), 245

London Docklands project, 145

Longo, Robert: and

postmodernism, 115

Lonidier, Fred: and

documentary photography,

183, 192; and

postmodernism, 145

Looking at Photographs

(Szarkowski), 43

Lorde, Andre: on photography

as master’s tool, xvi, 280

Lorentz Pare (filmmaker): on

Lange, 179

Louvre, 158

Lunacharsky, Anatoly: and

formalism, 58, 60


M-R

M

Majore, Frank: exhibitions, 136;

and postmodernism, 135-37,

140, 143

“Making Connections with the

Camera: Photography and

Social Mobility in the Career

of Jacob Riis” (Stein), 175

Malevich, Kazimir, 57; and

Levine, 132

Man in Bed (Siskind), 181

Man Ray: anti-positivist

approach of, 187; studio, 33

316

Man with a Movie Camera, The,

58

Mandel, Mike: and

documentary photography,

186

Mapplethorpe, Robert: and art

photography, 143

Marville, Charles, 42; and

Atget, 30, 40, 41, 47; and

calotype, 14; and copy-stand

work, 157; and use of paper

negative, 14

Marx, Karl, 192; on ideology as

camera obscura, 189, 274

Marxism: of Atget, 30

Marzorati, Gerald: interview

with Levine, 125

Masculinity, 272, 274

Mass media: and control, 91;

documentary photography

as, xxiv, 170

“Masterpieces of the French

Calotypc” (exhibition), 6, 8

Masturbation: in photography,

235

Materialism: of radical

formalism, 56

Mayakovsky, Vladimir: and

socio-political photography,

57; and Soviet formalism, 70

Mayer: and calotype, 12

Mayer & Pierson, 154

Men: as subject, 225, 266

Mestral, 0., 19, 153

Meta-art photograph, 100

Mctacriticism, xiv

Metromobiltan (Haacke), 147

Metzker, Ray: and formalism,

53, 82, 84

Michaels, Barbara L.: on Atget,

39

Midnight in Ludlow Street (Riis),

175

Migrant Agricultural Worker’s

Family (Lange), 178

Miller (Laurence) Gallery, 106

Milner, Sherry : and sexual

difference, 269, 274

Miniaturization, 157, 159

“Mirrors and Windows”

(exhibition, 1977), 103

Mise en abyrne, 186

Missions Hcliographiqucs, 155:

and art photography, 109;

and Atget, 41; and Baldus,

14; and calotype patronage,

12

Mitchell, W. J. T.: on

photography and language,

28311

Moculea (Rodchenko), 54

Modern Times (Atget), 48

Modernism: aesthetic theory of,

29, 43-44, 118, 112-13, 127,

283n; and art photography,

10, 56, 112, 123; and Atget,

30, 37; critiques of, 86-87;

culture, 79; formalist, xxii,

xxv-xxvi; photographic,

188-89; and postmodernism,

86, 88-89, 103, 113, 143, 192;

in Siskind, 80; values of, 117.

See also Art photography ;

Formalism; Postmodernism

Moholy-Nagy, Laszlo, 65, 72;

and Bauhaus, 52-53, 68, 70;

and constructivism, 60, 62;

and formalism, 68, 71; and

New Bauhaus, 74, 76, 79;

and New Vision, 52-53, 60;

photography of, 71, 73, 75,

76; vs. pictorialism, 109; and

productivism, 70

Moholy-Nagy, Lucia, 70

Molderings, Herbert: and

formalism, 64

Monoprint, 106

Monu111ent Valley (Alexander),

91

Moralism: and documentary

photography, 171, 180

Moreau, Frederic: and cost of

calotype, 13

Morelli, Giovanni, 5

Moscow Constructivists:

exhibition, 56

Mother a11d Her Children, A

(Lange), 149

Moulin, J.-F., 22

Mulvey, Laura: on cinema, 258;

on self-representation, 245,

263

Mumford, Lewis: and

modernism, xxviii; on

photomontage, 188

Munsterburg, Marjorie: and

calotype sy mposium, 24; on

Galassi, 25

Musccs Nationaux: Marville

and, 157

Museum: and aesthetics, 27, 41,

143; and canon, 41;

photography in, 25-27

Museum of Fine Arts,

Houston: calotype exhibition,

6

Museum of Modern Art: Atget

exhibitions, 37, 38-39; and

formalist modernism, xxvi;

history of photography

exhibition, 25, 52; and

photographic legitimation,

xxv-xxvi, 39; photography

collection, 8; postmodernism

exhibition, 103

Musical Evening Gii,en by French

Officers in the Ile des Pins,

New Caledonia (Hughan), 174

Mystery of the Street (Umbo), 61

N

Nadar: and caloty pe, 12; on

French primitive

photography, 150; genius of,

10

Naturalism, 155

Nature Marte Gallery : Majore

exhibition, 136

Needham, Gerald: on

obscenity, 222

Negative: processes, 14;

signing, 165. See also

Collodian negative; Paper

negative

Ncgre, Charles: and art theory,

13, 28711; and calotype, 14;

and documentary

photography, 155; Jammes

on, 9; and mechanical

reproduction, 153; painting

of, 153

Nesbit, Margaret (Molly): on

Atget, 28, 44, 46

Neue Sachlichkeit, 52-53, 60, 62,

64, 73

Neumaier, Diane, xxxiii, 256,

266, 268-69

New Bauhaus, 74, 79. See also

Chicago Institute of Design

New Deal: and F.S.A.

photography project, 176,

179

New formalist photography, 87

New Museum of

Contemporary Art, xix

New Objectivity, 60

New Vision. See Neue

Saclzlichkeit

New York Photo League, 77

New York School, 79, 80

Newhall, Beaumont, xxiv; on

history of photography, 8, 9,

13-1-, 223, 225, 229, 28411; 011

modernism, 135

Nickel, Richard: and

formalism, 82, 8-1-

Niepce to Atget (Atgec), 27

Nixon, Nicholas: and

documentary photography,

28411-8511

Nodier, Charles: and French

caloty pe, 12

Normand, Alfred-Nicolas, 15;

and ealotype, 11, 14

North Gallery of the Cloister of

Elne (Mestral), 19

Norton, Charles Eliot: on

aesthetics, 5

“Notes on Quotes” (Rosier),

128

Nova Scotia College of Art and

Design, 89

Novy Lej, 60

Nude (Anonymous, ea. 1848),

228

Nude (Anonymous, ea.

1852-53), 230

Nude study : in photography,

223, 225, 232-33, 261, 263.

See also Erotic photography

Numero Deux (Alexander), 90

O

Objectivity, 171

Obscenity. See Erotic

photography

October Uournal), 28311

Oeuvre (Atget): Szarkowski on,

28

Olander, William (curator), xix

Old France (Atget), 48

On Dipsea Trail (Cunningham),

261

On Mt. Rainier (Cunningham),

261

On Photography (Sontag), 283n

“On the Invention of

Photographic Meaning”

(Sekula essay ), 91

“One and Only, The”

(exhibition), 106

Opoyaz group, 58

Organ Player (Atget), 50

Orientalism, 159

Orwell, George: on art as

propaganda, 53

Ostranenie, 56, 62

Other: in documentary, xxviii,

xxx; in photography, 39, 171,

172; women as, 238-39, 255;

and Woodman, 242

Owens, Craig: on

poststructuralism, 86

P

Paepcke, Walter: and New

Bauhaus, 74, 75

Painting: and composition, 161;

in nineteenth-century France,

157; and photographers’

training, 153; in

photography, 157, 158-59

Painting, Photography, Film

(Moholy), 71

Palace of the Nuns at Uxmal

(Charnay), 172

Panofsky, Erwin, 5, 6; on art

history, 285n

Papageorge, Tod: and art

photography, 112, 119, 120;

and street photography, 197

“Paper and Light: The

Calotype in France and Great

Britian, 1839-1870″

(exhibition), 6, 8, 13, 20, 21,

22, 26, 28811; installation

view, 21

Paper negative, 14, 152, 286n.

See also Caloty pe

Partnership. See Collaborative

photography

Pecquerel (early photographer),

22

Peress, Gilles: documentary

photography of, 169

Perspective: single-point

monocular, 180

Peterhans, Walter: and

Bauhaus, 70

Pevsner, Nicholas: and Soviet

formalism, 70

INDEX

Philadelphia Museum of Art:

French primitive exhibition,

9

Phillips, Christopher, xxiv

Photo essay : Mitchell on, 283n

Photogram (Moholy-Nagy), 72

Photograms, 75, 188

Photographe, Le (Meilhac and

Halcvy), 235

Photographer’s Eye (Szarkowski),

43

Photographer’s strike, 184-86

Photographic agency: defined,

XXXlll

“Photographic Education

Comes of Age” (Traub

essay), 52

Photographic formalism. See

Formalism

“Photographic Idealism of

Gustave Le Gray, The”

Ganis), 24

Photographie en France au dixneuvieme

siecle, La (Freund),

17

Photography: autonomy of,

xxiv; birth of, 150; defined,

xxii; falsified, xiii; function

of, xxiv; histories of, xxiii,

220; naming of, xxxiv; in

nineteenth-century France,

158; photographers

abandoning, 17, 153; as

profession, 31; as

representation, xiii, xxviii,

xxix-xxx; and subject matter,

xxii; transgressive, 233;

ubiquity of, 11 O; by women,

186. See also Art

photography; Documentary

photography ; Erotic

photography ; Pornographic

photography

“Photography in the Fifties”

(Gee essay), 77

Photomontage, 176, 187, 188,

189; and formalism, 62; by

Milner, 269; vs. photography,

188; and politics, 131

Photo-Politic (exhibition): poster,

184-87, 185, 190, 197

Photo-Secession and

amateurism, 20; and art

photography, 106, 107, 110;

318

and connoisseurship, 106; and

subjectivity, 13

Phrenology, 155

Phy sicians: and photography,

151

Phy siologists: and photography,

151

Pictorialism, 107, 109, 110, 112

“Picture Is No Substitute for

Any thing, A” (Levine and

Lawler), 133

Pierson: and calotype, 12

“Playing in the Fields of the

Image,” xxvi

Pluschow, Wilhelm, 263

Point of view, 180

Political photography: and

critical postmodernism, 145,

148; vs. postmodernism,

XXX111

Politics: and critical

postmodernism, 145, 148;

and documentary

photography, 176, 182, 190;

of photography, 128-31, 187,

189; of representation, 187

Poly snappers, 269

Pool of Siloah, Canal Cut in the

Rock (Salzmann), 163, 164

Poor: in photography, 175, 176,

179

Pop art, xxx

Pornographic photography, xvi,

220-37; vs. erotic, 221; and

staging, 232. See also Erotic

photography

Porter, Eliot: and art

photography, 48; Levine and,

127-28

Portraits, 31. See also Selfportrait

Positivism, 155

Postmodernism: and art

photography, xxvi, 86-102

p assim, 103-23, 124-48

p assim; art practices, 192, 193,

215; and authorship, 117; and

commercialism, 143; critical,

124-48 p assim; development

of, 125; vs. documentary,

xxix; and feminism, 215; and

invention, 86; and

modernism, 86, 88-89, 103,

113, 143, 192; oppositional,

xxvii, 125; and production,

103–4, 114; as style, 143. See

also Formalism; Modernism

Post-Partum Document (Kelly),

145

Poststructuralism: and art

history, 6

Primitive photography. See

French primitive

photography

Prince, Richard: and

postmodernism, xix, xxvi,

xxxiii, 88, 89, 96–97, 114,

117, 127-36 passim, 140, 142,

192, 256, 270, 272

P rincess Eugene M11rat (Abbott),

34

Princeton University Art

Museum: calotype exhibition,

6, 8

Princeton University Press:

calotype publication, 8, 22,

23

Print Collector’s 1\.’ewsletter, The:

on art photography, 113

Printing: albumcnized, 153;

from paper negatives, 152;

salted, 153

Private collections: exhibition

of, 158; vs. corporate

collections, 9-10, 286n

Production, Photographic, 151,

169, 189-90

Productivism: and art, 57;

perceiving, 55; of

Rodchenko, 56, 57, 58

Proletarskoe Foto, 60

Puyo, Camille: and

pictorialism, 110

Q

“Question of Silence, A”

(Gorris), 269

Quinet, Achille: and travel

photography, 158

R

Radical cultural practice, 215

Radical formalism, 53-84;

German, 62-64, 75;

impersonality of, 56; Russian,

55, 56, 60, 62-64, 73, 75. See

also Formalism

Railroad: and viewing

monuments, 158

INDEX

Rainwater on Oregon Beach

(Cunningham), 261, 262

Rauschenberg, Robert: and

postmodernism, 88, 103–4

Rayons et les ombres, Les

(Hugo), 13

Realism: Atget and, 28, 31, 33

passim; and documentary

photography, 155, 170-71,

180, 182, 188

Redmund, Joan: and formalism,

84

Regnault, Victor, 20; and

renunciation of photography,

153

“Remodelling Photo History”

(Spence and Dennett), 269

Renger-Patzsch, Albert, 69; and

formalism, 68, 84

Representational resistance, 191

Reverend Mr. Smith (Hill and

Adamson), 111

Revolution Surrealiste, La ( 1926):

Atget photographs in, 48

“Revolutionary Power of

Women’s Laughter, The”

(Isaak), 269

Reynolds, Joshua: and art

theory, 13

Rhode Island School of Design,

The: Woodman and, 242

Rich, Adrienne, 191

Riis, Jacob: and documentary

photography, xiii, 173,

175–76, 178

“Rise and Fall” (Baim), 272

Robinson, Henry Peach: and art

photography, 48

Rodchenko, Alexander, 54, 59,

275; on art, 53; on collective

effort, 62; and

constructivism, 56; and

formalism, xxv, 53-62 passim;

importance of, 284n;

metalwork of, 60, 70;

naturalized viewpoint of, 58;

and productivism, 56, 57, 58;

and social transformation, 55

Roh, Franz: and formalism, 73

Rose, Jacqueline: on political

transformation, 215

Rosier, Martha: criticism of,

xxiv; and documentary

photography, xxix, 120,

122-23, 171, 180, 182, 183,

319

192; on Museum of Modern

Art, 39; and postmodernism,

xxxiii, 120, 122-23, 128, 131,

135, 240, 274, 275

Rothstein, Arthur: and

documentary photography,

177

Royal Photographic Society, 20,

15i

Rue de la Montaigne St.

Genevieve (Atget), 42

Rue des Ursins (Atget), 32

Rue Tirechape (Marville), 41

Ruscha, Ed: and

postmodernism, 88, 103–4

Russian radical formalism. See

under Radical formalism


S-Z

S

Sachphotographie, 64

St. Michel d’Aiguilne, Le Puy (Le

Gray), 7

Salle, David: and criticism, 125;

and nonpolitical art, xxii

Salzmann, Auguste, xxix, 23,

152, 162, 163, 164, 167; and

calotype, 12, 16; in

Jerusalem, 150-68 passim

San Francisco Camerawork:

Hatch exhibition, 195

Sander, August: aesthetic vs.

historical context, xiv, 68

Sarizol (Finsler), 67

Scale: and advertisements,

277-78; in Salzmann’s work,

161

Schiele, Egon: Levine and, 132

Schnabel, Julian, 124: Sherrie

Levine on, 125

Scholarship, 4, 5, 10, 25, 27, 44

Schrager, Victor: and art

photography, 143

Science: and photography, 150

Sculpture: in photography, 157

Second Empire photography, 9,

13, 17, 22; erotica, 233

Sekula, Allan , xxiv, 91; and

documentary photography,

xxix, 86, 182, 183, 187, 192

Self-Deceit series (Woodman):

110S. 1, 2, 5, 6, 241

Self-expression, 102, 109

Self-portrait, 44, 107

Self-Portrait in Mirrors (Bing),

219

Self-Portrait with Brush and

Palette (Steichen), 108

Sepia wave, 8

“Serving the Status Quo: From

Stories We Tell Ourselves,

Stories We Tell Each Other”

(Hatch), 191, 201, 215

Serving the Status Quo, Part I,

Work/Possessions: One Family

(Hatch), 202, 202, 203,

204-5, 205, 206

Serving the Status Quo, Part II,

Adapt (Hatch), 207, 208,

209-11, 210, 211

Serving the Status Quo, Part III,

Nightspot (Hatch), 212-15,

213, 214, 216

Sexual difference, xvi, 256—80.

See also Gender

“Sexual Difference: Both Sides

of the Camera” (exhibition),

xvi, 256, 258, 260, 276

Sexual identity: in Hatch’s

work, 207-11

Sexual politics: and feminist

theory, 196; of photography,

187, 196

Sexuality: in Hatch’s work,

200; in photography, 220-37

Shadow: use of, 162, 163, 165

Shapiro, Meyer, 5

Sharecropper’s Wife, Arkansas

(Rothstein), 177

Sharpness, 153

“She Sees in Herself a New

Woman Every Day”

(Rosier), 274

Sherman, Cindy: and

postmodernism, xxvi, xxxiii,

107, 113-15, 127, 132, 140,

141, 143, 240, 256, 270, 272,

273, 274; and selfrepresentation,

245, 274

Shklovsky, Victor: and

formalism, 56

“Short History of Photography,

A” (Benjamin essay), 31

Siegel, Arthur: and formalism,

74, 75, 79

“Signs of the Real” (exhibition,

1985), 134

Simmons, Laurie: and

postmodernism, 114, 127,

139-40, 143

INDEX

Sinsabaugh, Art: and

formalism, 53, 82, 84

Singularity: Abbott and, 33

Sisco, Elizabeth: and

documentary photography,

183

Siskind, Aaron: and art

photography, 99, 113, 135;

and Bauhaus, 79-80; and

documentary photography,

80, 181; and formalism, 53,

74, 75, 76, 79, 80-82, 84; and

photographs of writing,

81-82

Sitting Nude (Hujar), 267

16 Jackies (Warhol), 105

Smith, Eugene: and

documentary photography,

xxvn

Smith, Henry Holmes: and

formalism, 75

Sny der, Joel: and calotype

symposium, 24

Sobieszek, Robert: and calotype

sy mposium, 24-25; on

French primitive

photography, 9

Social documentary, xxix

Socicte Franc;aise de

Photographie, 20, 23, 154;

and banning of nudes, 233

Solomon, Rosalind: and

documentary photography,

284n

Some Disordered Interior

Geometries (Woodman), 242

Sommer, Frederick, 99: and art

photography, 80

Sontag, Susan, 283n

Soviet Art Exhibition (Berlin,

1922), 60

Soviet Union: formalism in,

53-70 passim

Spence, Jo: and sexual

difference, xxxiii, 269-70,

274

Sphinx, The (Du Camp), 24

Spring Mill: and Atget

exhibition, 38-39

Starba Uournal): on Bauhaus,

70-71, 74

Statue before Painting, Perseus

with the Head of Medusa

(Lawler), 279

320

Steichen, Edward: and

postmodernism, 107-9

Stein, Sally: and documentary

photography, xxix, 175-76,

182

Steinberg, Leo: on artistic life,

55

Stereographs, 31

Stereoscopic photography, 222,

229, 231, 235. See also

Daguerreotype

Sterling, Joseph: and

formalism, 84

Stieglitz, Alfred, xxiv; and art

photography, 106, 107, 112,

118; Callahan and, 77; and

formalism, 52, 55; and

modernism, xxviii, 107, 112;

and pictorialism, 110, 112;

pronunciamentos of, 20;

symbolist intentions of, 99

“Stolen Image and Its Uses,

The” (exhibition), 131

Stott, William: on F.S.A.

project, 179

Straight photography, xxviii;

vs. art photography, 192; of

Atget, 31, 33; and formalism,

74; Hatch and, 192; of

Strand, 74, 107

Strand, Paul: and art

photography, 107, 112, 135;

and formalism, 48, 55, 74;

and modernism, xxviii, 107,

112; and post-pictorialism,

109, 112; and straight

photography, 74, 107

Street photography, 192, 197

Stry ker, Roy: and F.S.A.

project, 178

Study and Photographic

Reproduction of the Holy City

(Salzmann), 165

Study of a Forest Path (de

Brcbisson), 14, 18

Sturm Gallery: Moholy

exhibition, 70

Subject: Atget and, 47; in

documentary photography,

178; -object relations, 176,

187, 221

Subject Position and the Erotics of

Looking, 260

Subjective I, 190

Subjectivity: and formalism, 56;

of photography, xxviii, 13,

102, 109; and politics, 131; as

v1s1on, xxv1i1

Sultan, Larry: and documentary

photography, 186

Suprematism, 56

Surrealism: Atget and, 28, 30,

31, 33, 35; of Woodman, 242

Swan Song (Woodman), 248

Swedlund, Charles: and

formalism, 84

Sympathy: in photography, 179

Szarkowski, John: and

aesthetics, 41, 43; on Atget,

27–48 passim; on Callahan,

77, 79; and calotype, 22; on

canon, 40, 48; criticism of,

xxiv, 87; curatorial

preferences of, 48; on Disderi

realism, 28711; on

documentary photography,

186; on Eggleston, 43, 44; on

Gilbreth, xxiii; and

modernism, 43–44; and

photographic legitimation,

xxv-xxvi, 39, 41, 43;

postmodernism exhibition,

103; on the thing itself,

xxviii, 88, 118; on

Winogrand, xxviii

Szathmari, Charles, 10

T

Tabrizian, Mitra: and sexual

difference, 256

Talbot, Fox: and calotype, 11,

12, 14, 21, 152; and patent

restrictions in Britain, 12

Taylor, Baron: and French

calotype, 12

Taylor, Paul Schuster

(economist): and Lange, 179

Taylor, Roger: on British

topographic view, 25; and

calotype symposium, 24

Teach Yourself Photography: 50

Years of Hobby Manuals,

1935-1985 (Neumaier), 266,

268—69, 268

Technology: vs. aesthetics,

XX11-XX111

Telephone Transmission (Larson),

83

INDEX

Terbell, Yolanda Hershey: on

Atget, 39

Text, 183

Tcynard, Felix: and travel

photography, 154, 159, 168

Theorie des sacrifices, 13, 24

They Sucked a Filthy Tongue

(Lewis), 259

Three Kinds of Melon in Four

Kinds of Light series

(Woodman): no. 16, 247,

248, 265

303 Gallery: Majore exhibition,

136

Tomb of the Judges (Salzmann),

162, 163

Tourism: and photography,

151, 154. See also Carte-devisite

Training, 17-20, 153, 159, 192

Traub, Charles: and formalism,

52, 84

Travis, David (curator): and

calotype exhibition, 20; on

early French photography, 10

Trcmaux, Pierre, 159

Tretiakoff, Sergei: and

formalism, 57, 60

Tripod, 157

Trotsky, Leon: on literary

formalists, 58

U

Uclsman, Jerry: and art

photography, 48

Umbo, 61

Unheimlichkeit (Freud), 33

Untitled (Gloeden), 264

Untitled (Gorny, 1928), 66

Untitled (Kruger, 1980), 95

Untitled (Kruger, 1981), 94

Untitled (Kruger, 1982), 85, 93,

251

Untitled (Prince, 1977-78), 97

Untitled (Prince, 1980), 96

Untitled (Prince, 1980-1984),

142

Untitled (Welling, 1977), 99

Untitled (Welling, 1980), 98

Untitled (Woodman, 1976-77),

249

Untitled (Woodman, 1977-78),

254

Untitled (Woodman, 1979-80),

243, 246

321

Untitled Film Still (Sherman,

1977), 115

Untitled Film Still (Sherman,

1979), 141, 273

Untitled Montage (Leo), 119

Untitled (You Invest in the

Divinity of the Masterpiece)

(Kruger), 85

Utilitarianism, 56

V

Valley Curtain, Rifle, Colorado

(Christo), 89

Vallou de Villeneuve: painting

of, 153

Vanishing point, 180-81

Vertov, Dziga: film-making

processes of, 58

Veshch/Gegenstand/Objet, 62

Viaud, Gustave: Jammes on, 9

Victim photography, 176,

178-79

Village of Siloah (Salzmann),

162, 163

Villette, rue Asselin, Prostitute,

La (Atget), 49

Violence: and pornography,

221, 237

Viollet-le-Duc, 157-58

“Visionary Founder: Laszlo

Moholy-Nagy, A” (essay), 53

Vkhutein: Rodchenko and, 60,

70

Voyage en Orient, Le (de

Clercq), 164

Voyages pittoresques et romantiques

dans la France ancienne, 12, 23

Voyeurism, 207, 222, 229, 244,

249, 250, 265

W

Wagstaff, Sam, 10, 25, 28711

Wallace Gallery, Columbia

University: exhibition, xvi,

256

Warhol, Andy: and

postmodernism, xxvi, 88,

103-5, 136

Wateifall, The (Welling), 101

Watertowers (Becher), 116

We Won’t Play Nature to Your

Culture (Kruger), 250, 252

Wegman, William: and

postmodernism, 143

Weimar Fotokultur, 53, 60

Weinstock, Jane (curator): and

sexual difference, 256

Welling, James: and

postmodernism, 88, 89,

97-101, 114, 127

Welt Ist Schiin, Die, 68

Weston, Edward, xxiv, 3, 99,

261; and art photography,

106; Levine and, 127-28; and

modernism, xxvi, xxviii,

109, 112; and postpictorialism,

109

Wet-collodion process, 14, 16,

153

Wey, Francis, 13, 158-59

“When Modernism Becomes

Orthodoxy” (Kramer), 86

White, Clarence: and art

photography, 48

White Columns:

postmodernism exhibition,

134

White, Minor: and Aperture, 80,

134; and art photography, 48,

80; Callahan and, 77; on

French primitive

photography, 9

White on W hite (Malcvich), 57

INDEX

Why I Co to the Movies Alone

(Prince), 97

Wilke, Hannah: and selfrepresentation,

245

William Eggleston’s Guide

(Szarkowski), 43

Williams, Christopher: and

critical practice, 146

Williamson, Judith: and sexual

difference, 266, 272

Winogrand, Garry: and art

photography, 87, 119;

misogynist and racist

photography of, xxviii; and

non-documentary

photography, xxviii-xxix;

and postmodernism, xxviii,

120; and street photography,

197

Witten, Johannes: and Bauhaus,

70

Wolf, Daniel, 10

Women: as Other, 238-39, 255;

photographers, 186, 199,

244–45, 257; in photography,

120, 197, 220—55 passim, 257,

266

Women and Film: Both Sides of

the Camera (Kaplan), 258

322

“Women in Photography:

Making Connections”

(exhibition), 257-58, 260

Wood, John: and formalism, 84

Woodman, Francesca, 240—55;

erotica in, 245; and feminine

self-representation,

xxxii-xxxiii, 245; found

images of, 252-53; gothic

undertones of, 244; and

photographic agency, xxxiii;

and role of sexual difference,

xvi; serial work of, 242; and

surrealism, 242; themes of,

244

“Work of Art in the Age of

Mechanical Reproduction,

The” (Benjamin essay), 31

Work of Atget, The, 38, 48

Workers’ Club for the Soviet

Pavillion, 57

World of Atget, The, 31, 48

XYZ

Yellow Wallpaper, The (Gilman),

252

Yosemite (Alexander), 92

Yuchitan Mexico (Siskind), 81