Photographies

This list of further resources includes sources cited within the exhibition and additional recommended readings. It is not exhaustive; rather, it highlights relevant articles and books that the curators have used in their history of photography courses.  

What is photography? 

Armstrong, Carol, and Catherine de Zegher, editors. Ocean Flowers: Impressions from Nature. Princeton UP, 2004 [Bruce Peel Special Collections: in cataloguing queue].

Barthes, Roland. Camera Lucida: Reflections on Photography. Translated by Richard Howard. Hill and Wang, 1981 [Rutherford Library: TR 642 B3713 1981].

Batchen, Geoffrey. Burning with Desire: The Conception of Photography. MIT Press, 1997 [Rutherford Library: TR 15 B37 1997].

Beegan, Gerry. The Mass Image: A Social History of Photomechanical Reproduction in Victorian London. Palgrave Macmillan, 2008 [eBook access through University of Alberta Library].

Beegan, Gerry. “The Studio: Photomechanical Reproduction and the Changing Status of Design.” Design Issues, vol. 23, no. 4, 2007, pp. 46-61 [eJournal access through University of Alberta Library].

“Bill Presented to the Chamber of Deputies, France, June 15, 1839.” Photography in Print: Writings from 1816 to the Present, edited by Vicki Goldberg, U of New Mexico P, 1988, pp. 31-5 [Rutherford Library: TR 185 P49 1988].

Bull, Stephen. “The Identity of Photography.” Photography, Routledge, 2010, pp. 5-29 [eBook access through University of Alberta Library].

Maurice, Philippe. “Snippets of History: The Tintype and Prairie Canada.” Material Culture Review, vol. 41, no. 1, 1995.

Schiavo, Laura Burd. “From Phantom Image to Perfect Vision: Physiological Optics, Commercial Photography, and the Popularization of the Stereoscope.” New Media, 1740-1915, edited by Lisa Gitelman and Geoffrey B. Pingree, MIT Press, 2003, pp. 113-37 [eBook access through University of Alberta Library].

Talbot, William Henry Fox. “Some Account of the Art of Photogenic Drawing” (1839). Photography in Print: Writings from 1816 to the Present, edited by Vicki Goldberg, U of New Mexico P, 1988, pp. 36-48 [Rutherford Library: TR 185 P49 1988].

Willard, Tania. “Witnessing the Persistence of Light.” NANITCH: Early Photographs of British Columbia from the Langmann Collection, edited by Helga Pakasaar, Presentation House Gallery, 2016, pp. 63-73 [Bruce Peel Special Collections: TR 6 C22 V35 2016].

How do photographs shape memory and identity?

Bull, Stephen. “Snapshots.” Photography, Routledge, 2010, pp. 81-100 [eBook access through University of Alberta Library]. 

Devereux, Linda. “From Congo: Newspaper Photographs, Public Images and Personal Memories.” Visual Studies, vol. 25, no. 2, 2010, pp. 124-34 [eJournal access through University of Alberta Library].

Keenan, Catherine. “On the Relationship Between Personal Photographs and Individual Memory.” History of Photography, vol. 22, no. 1, 1998, pp. 60-4 [eJournal access through University of Alberta Library].

Keightley, Emily, and Michael Pickering. “Technologies of Memory: Practices of Remembering in Analogue and Digital Photography.” New Media & Society, vol. 16, no. 4, 2014, pp. 576-93 [eJournal access through University of Alberta Library].

Schwartz, Joan M. “Felix Man’s ‘Canada’: Imagined Geographies and Pre-Texts of Looking.” The Cultural Work of Photography in Canada, edited by Carol Payne and Andrea Kunard, McGill-Queen’s UP, 2011, pp. 3-22 [Rutherford: TR 183 C85 2011 and eBook access through University of Alberta Library].

Schwartz, Joan M., and James Ryan, editors. Picturing Place: Photography and the Geographical Imagination. I.B. Taurus, 2003 [Rutherford Library: TR 660 P52 2003].

Van Dijck, José. “Digital Photography: Communication, Identity, Memory.” Visual Communication, vol. 7, no. 1, 2008, pp. 57-76 [eJournal access through University of Alberta Library].

How do photographs circulate knowledge? 

Armstrong, Carol M. Scenes in a Library: Reading the Photograph in the Book, 1843-1875. MIT Press, 1998 [Rutherford Library: TR 222 A76 1988].

Azoulay, Ariella. “Photography and Its Citizens.” Aperture, no. 214, 2014, pp. 52-7 [eJournal access through University of Alberta Library].

Azoulay, Ariella. “What is a Photograph? What is Photography?” Philosophy of Photography vol. 1, no. 1, 2010, pp. 9-13.

Batchen, Geoffrey, et al, editors. Picturing Atrocity: Photography in Crisis. Reaktion, 2012. [Rutherford Library: TR 820.5 P478 2012]

Belknap, Geoffrey, and Sophie Defrance. “Photographs as Scientific and Social Objects in the Correspondence of Charles Darwin.” Photographs, Museums, Collections: Between Art and Information, edited by Elizabeth Edwards and Christopher A. Morton, Bloomsbury Academic, 2015, pp. 139-56 [eBook access through University of Alberta Library].

Braun, Marta. “Muybridge, Authorship, Originality.” Early Popular Visual Culture, vol. 11, no. 1, 2013, pp. 41-51 [eJournal access through University of Alberta Library].

Braun, Marta, and Elizabeth Whitcombe. “Marey, Muybridge, and Londe: The Photography of Pathological Locomotion.” History of Photography, vol. 23, no. 3, 1999, pp. 218–24 [eJournal access through University of Alberta Library].

Brown, Elspeth H. “Racialising the Virile Body: Eadweard Muybridge’s Locomotion Studies, 1883-1887.” Gender & History, vol. 17, no. 3, 2005, pp. 627-56 [eJournal access through University of Alberta Library].

Bull, Stephen. “The Photograph as Document.” Photography, Routledge, 2010, pp. 101-22 [eBook access through University of Alberta Library].

Giles, Geoffrey J. “Popular Education and New Media: The Cigarette Card in Germany.” Pedagogica Historica: International Journal of the History of Education, vol. 36, no. 1, 2000, pp. 448-69 [eJournal access through University of Alberta Library].

Hawkins, Stephanie L. American Iconographic: National Geographic, Global Culture, and the Visual Imagination. U of Virginia P, 2010 [Cameron Library: G 1 N275 H39 2010].

Holmes, Oliver Wendall. “The Stereoscope and the Stereograph.” The Atlantic, Jun. 1859. 

Jardine, Boris. “Made Real: Artifice and Accuracy in Nineteenth-Century Scientific Illustration.” Science Museum Group Journal, no. 2, 2014, pp. 124-66 [eJournal access through University of Alberta Library].

Pavlich, George. “The Subjects of Criminal Identification.” Punishment and Society, vol. 11, no. 2, 2009, pp. 171-90 [eJournal access through University of Alberta Library].

Prodger, Phillip. “Rejlander, Darwin, and the Evolution of ‘Ginx’s Baby’.” History of Photography, vol. 23, no. 3, 1999, pp. 260-68 [eJournal access through University of Alberta Library].

Rosler, Martha. “In, Around, and Afterthoughts (on Documentary Photography).” The Photography Reader, edited by Liz Wells, Routledge, 2003, pp. 261-74 [Rutherford Library: TR 145 P49 2003].  

Sekula, Allan. “The Body and the Archive.” October, vol. 39, 1986, pp. 3-64 [eJournal access through University of Alberta Library].

Solomon-Godeau, Abigail. “Torture at Abu Ghraib: The Media and Their Externalities.” Multitudes, vol. 28, no. 1, 2007, pp. 211-23 [eJournal access through University of Alberta Library].

Sontag, Susan. Regarding the Pain of Others. 1st ed., Farrar, Straus, and Giroux, 2003 [Augustana Library: HM 554 S65 2003].

Tagg, John. “Evidence, Truth and Order.” The Photography Reader, edited by Liz Wells, Routledge, 2003, pp. 257-60 [Rutherford Library: TR 145 P49 2003].

Tobin, William. “Alfred Donné and Léon Foucault: The First Applications of Electricity and Photography to Medical Illustration.” Journal of Visual Communication in Medicine, vol. 29, no. 1, 2006, pp. 6-13 [eJournal access through University of Alberta Library].

Walker, Ian. “Desert Stories or Faith in Facts?” The Photographic Image in Digital Culture, edited by Martin Lister, Routledge, 1995, pp. 236-52 [Rutherford Library: TR 183 P48 1995].

How do photographs become works of art?

Baudelaire, Charles. “The Salon of 1859.” Photography in Print: Writings from 1816 to the Present, edited by Vicki Goldberg, U of New Mexico P, 1988, pp. 123-26 [Rutherford Library: TR 185 P49 1988].

Bell, Lynne. "Unsettling Acts: Photography as Decolonizing Testimony in Centennial Memory.” The Cultural Work of Photography in Canada, edited by Andrea Kunard and Carol Payne, McGill-Queen’s UP, 2011, pp. 162-81 [Rutherford Library: TR 183 C85 2011]. 

Benjamin, Walter. “The Author as Producer.” Thinking Photography, edited by Victor Burgin, Macmillan, 1982, pp. 15-31 [eBook access through University of Alberta Library].

Benjamin, Walter, and Michael W. Jennings. “The Work of Art in the Age of Its Technological Reproducibility [First Version].” Grey Room, vol. 39, 2010, pp. 11–37 [eJournal access through University of Alberta Library].

Bull, Stephen. “Photographs as Art.” Photography, Routledge, 2010, pp. 123-45 [eBook access through University of Alberta Library].

Eastlake, Elizabeth. “A Review in the London Quarterly Review.” Photography in Print: Writings from 1816 to the Present, edited by Vicki Goldberg, U of New Mexico P, 1988, pp. 88-99 [Rutherford Library: TR 185 P49 1988].

Krauss, Rosalind. “Photography’s Discursive Spaces: Landscape/View.” Art Journal, vol. 42, no. 4, 1982, pp. 311-19 [eJournal access through University of Alberta Library].

Payne, Carol, and Jeffrey Thomas. “Aboriginal Interventions into the Photographic Archives: A Dialogue Between Carol Payne and Jeffrey Thomas.” Visual Resources, vol. 18, no. 2, 2002, pp. 109-25 [eJournal access through University of Alberta Library].

Solomon-Godeau, Abigail. “Living with Contradictions: Critical Practices in the Age of Supply-Side Aesthetics.” Photography at the Dock: Essays on Photographic History, Institutions, and Practices, edited by Abigail Solomon-Godeau, U of Minnesota P, 1991, pp. 124-48 [Rutherford Library: TR 642 S689 1991].