Art > Syllabus > ARH 480 & 580 The Nineteenth-Century Photography. (All)

ARH 480 & 580 The Nineteenth-Century Photography.

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ARH 480 & 580 The Nineteenth-Century Photography Wed. 2:00-4:50 Art Bldg. & Museum Room 312 Instructor: Jeehey Kim ([email protected]) Office hours: Thursdays, 2:30-4:30 (subject to ch... ange) Office: Art Building 286 Roland Barthes described the emergence of photography in the early nineteenth century as an "anthropological revolution in man's history," a "truly unprecedented type of consciousness." This course aims to examine this proposition by tracing the history of photographic 'consciousness' in the nineteenth century as it develops within a number of specific thematics, from the medium 's conception in the late 18th century through to debates in the early 20th century about photography's relationship to artistic and social issues. The class's structure will allow for individual sessions to combine a formal, illustrated presentation with some detailed discussion of particular photographers, images and texts. Taken as a whole, the class will look at photography as a cultural phenomenon as much as an art form, critically studying the various discursive arenas that this new medium helped to foster and redefine. Requirements and Grading • Attendance at all lectures and participation in all discussions: 10% (You are responsible for all material presented in the reading assignments and in class, whether or not you were in attendance.) • Two Response Papers for undergraduate students (from assigned readings; two pages long for each); One Book Review Paper/Presentation for graduate students (five pages long & 10-minute presentation in class): 20% • Class Discussion for Assigned Reading: each student will lead a discussion based on weekly assigned readings: 10% • A synopsis of your term paper and its annotated bibliography of at least five published sources. Note that the bibliographic sources can include reviews, newspaper reports, scholarly articles, and book chapters: 10% (Due Date: October 23) • One term paper (8-10 pages for undergraduates; 15 pages for graduate students; excluding bibliography; no title page): 50%; Late papers will be penalized by one letter grade per day. Plagiarism will not be tolerated, so please cite all of your sources, including those found on the internet. If you have questions about citation, consult the instructors. (Class Presentation: December 4 & 11; Due Date: December 20) Course Schedule W1 Prehistory James Ryan. extract from 'Images and Impressions: Printing, Reproduction and Photography,’ in John M. Mackenzie ed., The Victorian Vision: inventing New Britain (London: V & A, 2001), 215-222. Geoffrey Batchen, 'Desiring Production,' Each Wild Idea: Writing, Photography, History (Cambridge. MA: The MIT Press. 2001), 2-24, 192-196. Douglas Nickel, 'History of Photography: The State of Research,' The Art Bulletin, Vol. LXXXIII. No.3 (September 2001), 548-558. Joan Fontcuberta, 'Revisiting the Histories of Photography,' Photography: Crisis of History (Barcelona: Actar, 2004), 6-17. W2 Invention (Britain) Thomas Wedgwood and Humphry Davy. 'An Account of a Method of Copying Paintings Upon Glass, etc' (1802), from Beaumont Newhall ed., Photography: Essays & Images (NY: Museum of Modern Art. 1980), 15-16. William Henry Fox Talbot, 'Some Account of the Art of Photogenic Drawing, or, The Process by Which Natural Objects May Be Made to Delineate Themselves Without the Aid of the Artist's Pencil' (1839), from ibid, 23-31. Geoffrey Batchen, 'A Philosophical Window,' History of Photography, 26: 2 (Summer 2002): 100-112. Larry Schaaf, 'Introduction,' Sun Gardens: Victorian Photograms by Anna Atkins (New York: Aperture, 1985), 8-9. Carol Armstrong, 'Cameraless: From Natural Illustrations and Nature Prints to Manual and Photogenic Drawings and other Botanographs,' in Carol Armstrong & Catherine de Zegher eds., Ocean Flowers: Impressions from nature (New York: Drawing Center; Princeton: Princeton University Press, 2004), 87-165. W3 Invention (France) Nicéphore Niépce, 'Letter to his brother Claude' (May 5, 1816), in Quentin Bajac, The Invention of Photography: The First Fifty Years (London: Thames & Hudson, 2002), 130-131. Nicéphore Niépce, 'Memoir on Heliography' (1827), in Helmut and Alison Gemsheim, L. J. M. Daguerre: The history of the Diorama and the Daguerreotype (New York: Dover, 1968), 67. Louis Daguerre, 'Daguerreotype'(1838), ibid, 79-81. Alexandre von Humboldt, 'Letter to Carus' (February 25, 1839), in Bajac, The Invention of Photography, 132-133. H. Gaucheraud el al., 'The First News Accounts of the Daguerreotype' (January 6, 1839), from Newhall, Photography: Essays & Images. 17-21. Geoffrey Batchen, 'Light and Dark: The Daguerreotype and Art History,' The Art Bulletin, LXXXVI: 4 (December 2004), 764-776. Abigail Solomon•Godeau, 'Calotypomania' (1983). Photography at the Dock: Essays on Photographic History, Institutions and Practices (University of Minnesota Press, 1991), 4-27, 285-289. Michel Frizot, ‘The Parole of the Primitives: Hippolyte Bayard and the French Calotypists,’ History of Photography, 16: 4 (Winter 1992): 358-370. Geoffrey Batchen, ‘Le Noyé,’ Burning with Desire: The Conception of Photography (Cambridge, MA: MIT Press, 1997), 157-173, 252-254. W4 Portraits François Gouraud, 'Manner of Taking Portraits by the Daguerreotype' (Boston, 1840), in Robert Sobieszak ed., The Daguerreotype Process: Three Treatises, 1840-1849 (NY: Arno Press, 1973), 14-16. H.B., 'Portraits Photographiques' (c. 1842), in R F. Johnson and R H. Shimshak, The Power of Light: Daguerreotypes from the Robert Harshorn Shimshak Collection (exhibition catalogue, San Francisco: California Palace of the Legion of Honor, 1986). 8-9. John Tagg, 'A Democracy of the Image: Photographic Portraiture and Commodity Production' (1984), The Burden of Representation: Essays on Photographs and Histories (MacMillan, 1988), 34-59, 214-215. Alan Trachtenberg, ‘Likeness as Identity: Reflections on the Daguerrean Mystique,’ in Graham Clarke ed., The Portrait in Photography (New York: Reaktion Books, 1992), 173-192. Keith P. Adamson, ‘Early British Patents in Photography,’ History of Photography 15:4 (Winter 1991): 313-323. W5 Commerce Sara Stevenson, ‘The Disconnected Triangle: Brewster, Talbot and Hill and Adamson,’ The Personal Art of David Octavius Hill (New Haven: Yale University Press, 2002), 21-30. Hugh Miller, 'The Calotype' (from The Wil1less, July 12, 1843). History of Photography 27: 1 (Spring 2003), 7-12. John Stauffer, 'Daguerreotyping the National Soul: The Portraits of Southworth and Hawes 1843-1860,' in Brian Wallis et. aI., Young America: The Daguerreotypes of Southworth and Hawes (Steidl Publishing, 2005), 57-74. W6 Landscape Barthélémy Jobert. 'From the Point of View of Painting,' in Sylvie Aubenas ed., Gustave Le Gray 1820-1884 (Los Angeles: J. Paul Getty Museum, 2002), 233-253. Mike Weaver, 'Roger Fenton: Landscape and Still Life,' in Mike Weaver ed., British Photography in the Nineteenth Century: The Fine Art Tradition (Cambridge University Press, 1989), 103-120. W7 Cartomania Geoffrey Batchen, 'Dreams of Ordinary Life: Cartes-de-visite and the Bourgeois Imagination,' in Martha Langford ed., Photography and Imagination (Montreal: Le Mois de la Photo, 2005), 63-74, 207-210. Steve Edwards, 'A Photographic Atlas: Divisions of the Photographic Field,' The Making of English Photography: Allegories (Pennsylvania State University Press, 2006), 67-116. Elizabeth Siegel, 'Talking through the "Fotygraft Album",' in Alex Hughes and Andrea Noble ed., Phototextualities: lntersections of Photography and Narrative (Albuquerque: University of New Mexico Press, 2003), 239-253. François Heilbrun, 'Nadar and the Art of Portrait Photography,' in Maria Morris Hambourg et aI., Nadar (NY: Metropolitan Museum of Art, 1995), 35-58. W8 Memory Geoffrey Batchen, 'Ere the Substance Fade: Photography and Hair Jewellery.' in Elizabeth Edwards find Janice Hart eds., Photographs Objects Histories: On the Materiality of Images (Routledge, 2004), 32-46. Anne Higonnet, 'Secluded Vision: Images of Feminine Experience in Nineteenth-Century Europe' (1987), in Norma Braude and Mary D. Garrard eds., The Expanding Discourse: Feminism and Art History (Harper Collins, 1992), 170-185. W9 Empire James Ryan. 'Framing the View,' Picturing Empire: Photography and the Visualization of the British Empire (Chicago: University of Chicago Press, 1997), 45-72. Maria Antonella Pelizzari. 'From Stone to Paper: Photographs of Architecture and the Traces of History,' in Maria Antonella Pelizzari ed., Traces of India: Photography, Architecture, and the Politics of Representation 1850-1900 (Montreal: Canadian Center for Architecture. 2003), 22-57. Kinoshita Naoyuki, 'The Early Years of Japanese Photography,' in Anne Wilkes Tucker cd., The History of Japanese Photography (New Haven: Yale University Press. 2003), 16-35. Regine Thiriez, ‘Photography, Beijing and European Palaces,’ in Barbarian Lens: Western Photographers of the Qianlong Emperor's European Palaces (Hoboken: Taylor and Francis, 2013), 1-66. W10 America Alan Trachtenberg, 'Naming the View,' in Reading American Photographs: Images as History, Mathew Brady to Walker Evans (Hlill and Wang, 1989), 119-163, 302-307. Rosalind Krauss. 'Photography's Discursive Spaces' (1982), in The Originality ofthe Avant.{jarde and Other Modernist Myths (MIT Press, 1985), 131-150. Robin E. Kelsey, 'Viewing the Archive: Timothy O'Sullivan's Photographs for the Wheeler Survey, 1871-74: The Art Bulletin, LXXXV: 4 (December 2003), 702-723. Douglas Nickel, 'An Art of Perception,' Carieton Watkins: The Art of Perception (San Francisco Museum of Modem Art, 1999), 19-35. W11 Surveillance Shawn Michelle Smith, 'The Criminal Body and the Portrait of a Type,' in American Archives: Gender, Race, and Class in Visual Culture (Princeton University Press, 1999), 68-93. Peter Hamilton, 'Policing the Face,' in Peter Hamilton & Roger Hargreaves, The Beautiful and the Damned: The Creation of Identity in Nineteenth-Century Photography (London: National Portrait Gallery, 2001), 57-107. Elizabeth Edwards, 'Professor Huxley's "Well-Considered Plan",' Raw Histories: Photographs, Anthropology and Museums (Oxford: Berg, 2001), 131-155. Jaoob Riis. 'Flashes from the Slums' (1888), in Newhall, Photography: Essays and Images, 154-157. Ka F. Wong, ‘Visual Methods in Early Japanese Anthropology: Torii Ryuzo in Taiwan,’ in Elizabeth Edwards and Christopher Morton, eds., Photography, Anthropology and History: Expanding the Frame (Farnham: Taylor and Francis, 2016), 171-192. W12 Science Martin Kemp, '''A Perfect and Faithful Record": Mind and Body in Medical Photography before 1900,' in Ann Thomas ed., Beauty of Another Order: Photography in Science (New Haven : Y ale University Press, 1997), 120-149, 232-235. Anonymous, 'In the eyes of the dead,' Le Moniteur de la Photographie (1863), and Anonymous, 'Buguet the medium,' Revue Spirite (January 1874), in Bajac, The Invention o/Photography, 144-145. Jennifer Tucker, 'Photography of the Invisible,' in Nature Exposed: Photography as Eyewitness in Victorian Science (Baltimore: Johns Hopkins University Press, 2005), 159-193, 162-166. Robert Bartlett Haas, Muybridge: Man in Motion (Berkeley: University of California Press, 1976),45-49, 93-97, 109-120. W13 Art Gisèle Freund, 'Attitudes Toward Photography,' Photography & Society (Gordon Fraser, 1980), 69-82. Charles Baudelaire, extract from 'The Salon of 1859: The Modem Public and Photography' (1859), in Newhall, Photography: Essays & Images, 112-113. Graham Smith, 'Rejlander, Raphael and Fuseli' [including Rejlander's 'An Apology for Art Photography' (Feb 12, 1863)], History of Photography, 27: 1 (Spring 2003), 74-81 Carol Armstrong, 'Cupid's Pencil of light: Julia Margaret Cameron and the Modernization of Photography', in Rosalind Krauss et. al. cds., October: The Second Decade, 1986-1996 (M1T Press, 1997), 248-275. Philippa Wright, 'Little Pictures: Julia Margaret Cameron and Small-Format Photography,' in Julian Cox and Colin Ford eds., Julia Margaret Cameron: The Complete Photographs (Los Angeles: J. Paul Getty Museum, 2003), 81-93. W14 Pictorialism Peter Henry Emerson, 'Photography, A Pictorial Art ' (1886) in Newhall, Photography: Essays and Images, 159-162. Ellen Handy, 'Pictorial Beauties, Natural Truths, Photographic Practices,' in Pictorial Effect, Naturalistic Vision (Chrysler Museum, 1994), 1-23. Allan Sekula, 'On the Invention of Photographic Meaning (1974),' in Vicki Goldberg ed., Photography in Print: Writings from 1816 to the Present (Albuquerque: University of New Mexico Press, 1981), 452-473. [Show More]

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