Academic Sessions: London 2003
Photography: History, Theory, Practice
Convenor:
Lynda Nead, l.nead@bbk.ac.uk and Patrizia di Bello p.dibello@hist-art.bbk.ac.uk
School of History of Art, Film and Visual Media, Birkbeck College, 43 Gordon Square, London WC1H 0PD
Abstract:
What is the role of the study of the photographic image, within the wider study of art and visual culture? How can we articulate the specificities of the photographic image? Or are these best articulated by considering photographic images in the visual, textual and tactile cultures within which they are used? This session aims to promote debate on, and make a contribution to, the future development of photography within visual arts studies, and to represent a variety of different approaches to the history and theory of photography.
Robyn Kelsey (Harvard University) Unconscious Inclusions: in William Henry Fox Talbot’s The Pencil of Nature.
Lindsay Smith (University of Sussex) Back to the Future.
Steve Edwards (Open University) Grotesque Aesthetics. Photography Then and Now.
Patrizia di Bello (Birkbeck College) Vision and Touch
David Evans (Arts Institute at Bournemouth) Le Corbusier, Photography, and the Architecture of the Book
Mark Haworth-Booth (Victoria and Albert Museum) Photo–based art – or Photography?
Adrian Rifkin (Middlesex University) (A)part from sex…?
Michael Hatt (University of Nottingham) To see the Shadow You Become: Sculpture and Photography, c.l900
Victor Burgin (Goldsmiths College) Marker Marked
Jaime Stapleton (Goldsmiths College) The Art of Photography: the Extension of Copyright to Photographic Images.
David Bate (University of Westminster) Towards Theory in History of Photography.
Lynda Nead, l.nead@bbk.ac.uk and Patrizia di Bello p.dibello@hist-art.bbk.ac.uk
School of History of Art, Film and Visual Media, Birkbeck College, 43 Gordon Square, London WC1H 0PD
Abstract:
What is the role of the study of the photographic image, within the wider study of art and visual culture? How can we articulate the specificities of the photographic image? Or are these best articulated by considering photographic images in the visual, textual and tactile cultures within which they are used? This session aims to promote debate on, and make a contribution to, the future development of photography within visual arts studies, and to represent a variety of different approaches to the history and theory of photography.
Robyn Kelsey (Harvard University) Unconscious Inclusions: in William Henry Fox Talbot’s The Pencil of Nature.
Lindsay Smith (University of Sussex) Back to the Future.
Steve Edwards (Open University) Grotesque Aesthetics. Photography Then and Now.
Patrizia di Bello (Birkbeck College) Vision and Touch
David Evans (Arts Institute at Bournemouth) Le Corbusier, Photography, and the Architecture of the Book
Mark Haworth-Booth (Victoria and Albert Museum) Photo–based art – or Photography?
Adrian Rifkin (Middlesex University) (A)part from sex…?
Michael Hatt (University of Nottingham) To see the Shadow You Become: Sculpture and Photography, c.l900
Victor Burgin (Goldsmiths College) Marker Marked
Jaime Stapleton (Goldsmiths College) The Art of Photography: the Extension of Copyright to Photographic Images.
David Bate (University of Westminster) Towards Theory in History of Photography.