
Photography at the dock
Solomon-Godeau, A. (1994) Photography at the dock. Minneapolis: University Of Minnesota Press
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, 128. 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, 128 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