Additional Resources

Glossary

KEY TERMS

abject In Julia Kristeva’s Powers of Horror the abject is associated with material that produces a reaction of horror because it threatens the distinction between subject and object or the boundary between self and other. Abject material can include bodily fluids, wounds, or corpses, and the horrified or repulsed responses these can produce in the viewer is not because of what they mean, since abjection is not to do with symbolic meaning, but to do with deep, primal and unconscious drives.

aesthetic Pertaining to perception by the senses, and, by extension, to the appreciation or criticism of beauty, or of art. Thus ‘aesthetics’ references the criteria whereby we judge a work of art. Such criteria primarily include formal conventions (composition, tonal balance, and so on). Aesthetic philosophy is concerned with principles for the appreciation of the beautiful, including the beautiful in art.

analogue A form of representation, such as a painting, a chemical photograph or video tape, in which the image is composed of a continuous variation of tone, light or some other signal. Similarly, a gramophone record is an analogue medium for reproducing sound or music. Analogue representation is based upon an unsegmented code while a digital medium is based upon a segmented one in which information is divided into discrete elements. The hands of a traditional (analogue) clock which continuously sweep its face, in contrast to a digital clock which announces each second in isolation, is a common example of the difference.

art Imagery created principally for exhibition in galleries, museums, or related contexts. In this book we use ‘Art’, to refer to ‘high art’ and related gallery and funding systems and institutions.

autographic A generic term applied to all of those processes – drawing and painting being the main ones – in which images are made by the action and coordination of the eye and hand, and without mechanical or electronic intervention. Autographic images are authored wholly by physical and intellectual skill, or as a general field of (artistic) practices.

carnivalesque A concept developed by the Russian theorist Bakhtin to describe the taste for crude laughter, bad taste, excessiveness (particularly of bodily functions) and offensiveness. It celebrates a temporary liberation from recognised rules and hierarchies and is tolerated because, once people have been allowed to let off steam, those norms can be re-established.

code Used here in the semiotic sense to refer to the way in which signs are systematically organised to create meaning – the Morse code is one simple example. Cultural codes determine the meanings conveyed by various cultural practices, say, the way people dress or eat their meals; photographic codes control the way meanings are conveyed in a photograph – for example, the details that give a news photograph its sense of authenticity, or a wedding photograph the right sort of dignity. Cultural codes are centrally examined in chapter 5.

See semiotics

commodity Something which is bought and sold. The most commonly understood forms of commodity are goods which have been manufactured for the marketplace, but within capitalism other things have also been commodified. Natural resources and human labour have also been metamorphosed into commodities.

commodity culture A term used to describe the culture of industrial capitalism. Within today’s culture everything, even the water we drink, has become a product to be bought and sold in the marketplace. Commodity culture also infers the naturalisation of this system to the extent that we cannot imagine another way of living.

construction The creating or forging of images and artefacts. In photography this particularly references the deliberate building of an image, rather than its taking from actuality, through staging, fabrication, montage and image-text. The term also reminds us of Soviet Constructivism in which the role of art in the building of a new social order was emphasised and industrial elements were often used as a basis for art. Through inversion, it also references theories of deconstruction.

critical realism refers to research through observation, documentation and critical reflection on visible manifestations of physical phenomena and social relations within particular situations. It is thus a method of thinking through accumulation, rather than a visual style. It is generally characterised by multiple images montaged with written or spoken narratives and dialogues.

deconstruction A radical poststructuralist theory, centred upon the work of French literary theorist Jacques Derrida, which investigates the complexity and, ultimately indeterminable, play of meaning in texts. Derrida’s focus is literary, but the analysis may be extended to the visual.

dialectics A method of enquiry premised on a logical mode of argument whereby a position is stated, it’s anti-thesis is also stated, and, through discussion, a synthesis is reached. It is important in art history as a means of accounting absorption of avant-garde movements and their influence on art practices.

discourse Circulation of an idea or set of ideas through imagery, speech or writing. Photography is one of the many media – including newspapers, books, conversation, television programmes, and so on – which constitute contemporary discourses. See ideology

epistemology A branch of philosophy concerned to establish by what means knowledge is derived. It is concerned with questions such as what it is possible to know and asks how reliable knowledge can be. In the present context, questions can be asked about what kinds of knowledge images provide, and how they do it.

fantasies The term ‘fantasy’ usually refers to stories, daydreams and other fictions. It is sometimes distinguished from ‘phantasy’, which is a more technical term from psychoanalysis referring to unconscious processes. This book draws on both meanings, especially when discussing writers and photographers influenced by psychoanalytic thought.

See unconscious

fetishism The substitution of a part for the whole; or use of a thing to stand in for powerful but repressed forces. In Freudian theory fetishism refers to the displacement and disavowal of sexuality. Fascination or desire are simultaneously denied, and indulged through looking at an object or image which stands in for that which is forbidden. Thus a photographic image of a fragment of a woman’s body may stand in for woman as the object of sexual desire.

See objectification, psychoanalysis, voyeurism

formalism Prioritisation of concern with form rather than content. Focus on composition and on the material nature of any specific medium.

gaze This has become a familiar term to describe a particular way of looking at, perceiving and understanding the world. It was brought into currency by writers on cinema, concerned to analyse the response of the audience as voyeurs of the action on the screen. The voyeuristic gaze is used to describe the way in which men often look at women, as well as the way in which Western tourists look at the non-Western world. More recently, discussions have focused on the implications of a ‘female gaze’.

hegemony Dominance maintained through the continuous negotiation of consent by those in power in respect of their right to rule. Such consent is underpinned by the possibility of coercion.

See ideology

heuristic An educational strategy in which students (or researchers) are trained to find things out for themselves.

historicisation The process by which events or other phenomena are given a place in an historical narrative. Photography may be defined by the position that it occupies in a larger historical schema or an unfolding over time of technologies and practices.

identity A person’s identity is his or her sense of self and the different contexts within which that selfhood is constructed. It is never simple or coherent, nor is it stable as people, attitudes and understandings change over time in response to events and experiences. For example, the national identity into which one is born may well clash with the cultural identity of the community in which one chooses to live; or a gay identity, based on sexuality, may clash with a religious identity based on strict rules governing sexual behaviour.

ideology This term is commonly used in two differing but interconnected ways. In this book it is used primarily to refer to bodies of ideas which may be abstract, but which arise from a particular set of class interests. The term is also commonly used to refer to ideas which are illusory, whose purpose it is to mask social and economic relations which actually obtain. For instance, the idea that children need their mother at home (which was common in the 1950s) masked the economic relations of patriarchy whereby married women were rendered financially dependent upon their husbands.

index One of three kinds of sign defined by American semiotician, C.S. Peirce. The indexical sign is based in cause and effect; for example, a footprint in wet sand indicates or traces a recent presence. The other two types of sign are the iconic (that which is based in resemblance), and the symbolic, or sign proper (that which is entirely conventional).

indexicality This term refers to a cluster of qualities and ideas about photographs which are associated with their indexical nature (see index above), that is, with the manner in which a photograph can be understood to be a chemical trace or imprint, via the passage of light, of an existing (or once existing) physical object. By extension this links with ideas that photographs are closely related to memory, the past, presence and absence, and death. Also, that they are tangible evidence of a thing’s existence. A further meaning is that the ‘taking’ of a photograph can be thought of as ‘pointing’ to something in the world.

See semiotics

mimetic representation Based upon imitation, upon showing rather than telling, a concept central to traditional post-Renaissance art theory.

See representation

modernism In everyday terms ‘modern’ is often used to refer to contemporary design, media or forms of social organisation (as in ‘the modern family’). But ‘modern’ also frequently refers to the emphasis upon modernisation from the mid-nineteenth century onwards, and, more particularly, to Modern movements in art and design from the turn of the twentieth century. It is essentially a relative concept (modern by contrast with . . .); its precise usage depends upon particular contexts. In this book we distinguish between two terms: modernism, sets of progressive ideas in which the modern is emphasised and welcomed; and modernity, social, technological and cultural developments. The term ‘Modernism’ is used (in chapter 6) to refer to particular emphasis on form and materiality in modern art. Throughout the book a distinction is made between the modern, and the postmodern or contemporary.

See postmodern

objectification It is often argued that photography objectifies people by turning them into things or objects to be looked at, thereby disempowering them.

See voyeurism

ontological Ontology is a branch of philosophy. It concerns the study of how things exist and the nature of various kinds of existence. It involves the logical investigation of the different ways in which things of different types (physical objects, numbers, abstract concepts, etc.) are thought to exist.

the Other A concept used within psychoanalysis and identity theory, and within post-colonial theory, to signify ways in which members of dominant groups derive a sense of self-location and identity partly through defining other groups as different or ‘Other’. Thus, within patriarchy, the male is taken as the norm, and woman as ‘Other’; that is, not male. Similarly, in racist ideologies, whiteness is taken for granted, therefore blackness is seen as Other.

See identity, psychoanalysis

phenomenology A philosophical movement founded by Edmund Husserl in the early twentieth century in which the focus is on perception and consciousness, upon what the senses and the mind notice.

polysemic A property of signs is that they can have many meanings: their context and the interests of their readers. Hence captions, or words within the image, are frequently used to help anchor meaning.

positivism As is implied in the roots of the term itself, positivism stresses that which is definite or positive, i.e. factually based. Positivism, with its associated emphasis upon logical deduction and empirical research methods, including the social survey, is associated with the Victorian period in Britain, although its roots lie in earlier, eighteenth-century philosophy.

posthumanism has emerged in the early twenty-first century from an intersection of twentieth century environmental, feminist and phenomenological concerns, methodologies and debates. Philosophically it seeks to question attitudes associated with the era of the Anthropocene whereby humans were conceptualised as superior different from and superior to other animal and botanical species as opposed to existing as an integrated component of planetary ecologies. Post-humanism (literally after, or beyond, humanism) pro-actively challenges human-centric attitudes.

postmodern Literally ‘after the modern’, the postmodern represents a critique of the limitations of modernism with its emphasis upon progress and, in the case of the arts, upon the materiality of the medium of communication. Philosophically, postmodernism has been defined as marking the collapse of certainty, a loss of faith in explanatory systems, and a sense of dislocation consequent on the global nature of communication systems and the loss of a clear relation between signs and their referents.

poststructuralist At its most simple, this means ‘after Structuralism’, also implying critical thinking that contests and goes beyond Structuralist theory and method, rejecting the idea that all meaning is fundamentally systematic. In this book it is used to refer to a group of theories which stress the way that the human ‘self’ and the meaning made of the world is constructed through the languages (including visual languages) which we use. Poststructuralist thinking challenges the idea that there is a fixed and stable human subject or that knowledge can be certain.

See identity, structuralism

private and public spheres We lead our lives within two relatively distinct modes, a ‘private’ sphere, which is made up of personal and kinship relations and domestic life, and a ‘public’ sphere, made up of economic relations, work, money-making and politics. The ‘private’ sphere tends to be controlled by moral and emotional constraints, the ‘public’ sphere by public laws and regulations. This distinction, although contested by feminist writers, and more recently by those interested to analyse the extensive media penetration within the domestic, underlies the way the terms ‘private’ and ‘public’ are used in this book (especially in chapter 3).

psychoanalysis The therapeutic method established by Sigmund Freud, which involves seeking access to traumatic experiences held in the unconscious mind.

See repression, unconscious

representation This refers to ways in which individuals, groups or ideas are depicted. Use of the term usually signals acknowledgement that images are never ‘innocent’, but always have their own history, cultural contexts and specificity, and therefore carry ideological implications.

repression Unpleasant or unwelcome thoughts, emotions, sensations are ‘repressed’ when they are forced into the unconscious. The phrase ‘the return of the repressed’ means that such emotions surface into the conscious world in different forms.

See psychoanalysis, unconscious

reproduction The production (by machine) of many identical copies. The process of mass production when applied, through photography, print technology, and electronic recording to the copying of visual images or music. As this process has become increasingly sophisticated, the reproduction of original works of art has reached a stage where the reproduction is, for almost all intents and purposes, as good as the original. Where it does not, and cannot, replace the original autographic work is in bearing the traces and marks of its maker. Such originals have been spoken of as having an ‘aura’ (Benjamin 1936) due to our sense of their being unique and of having a history. There are, broadly, two schools of thought about the impact of reproduction on original images. One deplores the ‘cheapening’ of unique originals through reproduction; the other celebrates the process as a way of democratising visual and aural culture. Whatever the case, photography is a technology which has reproducibility built in. A negative is produced precisely so as to be able to make infinite numbers of prints, each, in principle, being identical, and digital technologies are inherently reproduceable. The continuing phenomenon of the ‘artist’ photographer’s proof, or ‘original’ print, is therefore an ironic twist and an example of the political economy triumphing over technological determinations. In principle digital technology now renders distinctions between ‘original’ and ‘reproduction’ irrelevant.

scopophilia The human drive to look or observe; in Freudian theory the fundamental instinct leading to voyeurism.

See fetishism, voyeurism

semiology See semiotics

semiotics The science of signs, first proposed in 1916 by linguist Ferdinand de Saussure, but developed in particular in the work of Roland Barthes (France) and C.S. Peirce (USA). Semiotics – also referred to as semiology – is premised upon the contention that all human communication is founded in an assemblage of signs – verbal, aural and visual – which is essentially systematic. Such sign systems are viewed as largely – or entirely – conventional; that is, consequent not upon ‘natural’ relations between words or images and that to which they refer, but upon arbitrary relations established through cultural convention. The sign proper has two aspects, signifier and signified. The signifier is the material manifestation, the word, or pictorial elements. The signified is a mental concept that is conventionally associated with the specific signifier. While separable for analytic purposes, in practice the signifier and the signified always go together.

See code

social and economic history History may be written in many ways. Economic history deals with changes in work patterns and the ways in which human societies have sustained themselves. Social history deals with the organisation of societies – marriage, education, child-rearing and the like. A history of photography is normally seen as part of art history or, more broadly, of the history of visual culture. In chapter 3 it is suggested that we can understand personal photography better if we consider it within a social and economic context. Chapter 5 takes the social and the economic as the primary context for understanding commercial uses of photography.

straight photography Emphasis upon direct documentary typical of the Modern period in American photography.

structuralism Twentieth-century theoretical movement within which stress is laid upon analysis of objects, cultural artefacts and communication processes in terms of systems of relations rather than as entities in themselves.

sublime That which is grand, noble or outstanding. In art the sublime is associated with awe, deep emotional response, and even pain. In landscape, the sublime relates to places where things run beyond human control, where nature is untameable. In his essay, ‘A Philosophical Enquiry into the Origin of our Ideas of the Sublime and the Beautiful’ (1757), the English philosopher Edmund Burke (1729–97) placed discussion of the sublime ahead of that of the beautiful, suggesting that pain is a stronger emotional force than pleasure. Burke wanted to explore human fascination with the sublime, noting that if pain or danger are too imminent they are simply terrible, but if held at some distance, for instance, through photographic representation, they are pleasurable. This apparent paradox has excited much subsequent debate in relation to imagery, not the least within psychoanalysis.

technological determinism The proposition that technological invention alone determines new cultural formations. The notion has been criticised primarily on the grounds that new technologies arise from research enterprises driven largely by economic imperatives and perceived social or political needs. Technological developments may be seen as an effect of cultural desires as well as a major influence within cultural change.

teleology Arguments and explanations in which the nature of something is explained by the purpose or ‘end’ which it appears to have. In this view photography, and then cinema, may be understood as being caused by a human desire to achieve ever more comprehensive illusions of reality, and are assumed to be striving towards further future achievements.

unconscious In psychoanalysis, that which is repressed from the individual’s conscious awareness yet gives rise to impulses which influence our behaviour. Freud insisted that human action always derives from mental processes of which we cannot be aware.

See repression, psychoanalysis

voyeurism Sexual stimulation obtained through looking. In photography voyeurism refers to the image as spectacle used for the gratification of the (hitherto construed as male, heterosexual) spectator.

See fetishism, objectification, psychoanalysis

For a comprehensive definition and discussion of technical terms in chemical photography see:

GORDON BALDWIN AND JÜRGENS, MARTIN (2009) Looking at Photographs: A Guide to Technical Terms, Los Angeles, Getty Publications. Revised edition, originally published 1991.

For fuller discussion of various contributions to twentieth-century debates, including Barthes, Benjamin, Foucault and Freud see:

JOHN LECHTE (2008) Fifty Key Contemporary Thinkers, London: Routledge. Revised edition, originally published 1994.

Photography Archives

Work by many photographers, historical and contemporary, is kept under proper conservation conditions in specific archives (or collections). Researching images – perhaps for an extended essay or dissertation – may mean that you want to seek examples of images, photographers or movements or look at original prints. Here we list some key archives that may be of help to you. Most archives have extensive ranges of materials, including images and information on historical movements, reproduced digitally online. Should you wish to look at paper prints

you should always phone or email in advance to check that the work that interests you is available and to make a viewing appointment. (Web addresses below, correct October 2020).

KEY PUBLIC ARCHIVES IN BRITAIN

National Science and Media Museum, Bradford, West Yorkshire BD1 1NQ, https://www.scienceandmediamuseum.org.uk

National Portrait Gallery, St Martin’s Place, London WC2H 0HE, www.npg.org.uk For photographic portraiture archives and exhibitions

National Galleries Scotland, 73 Belford Road, Edinburgh, EH4 3DS, www.nationalgalleries.org Portraiture archives

Victoria and Albert Museum (V&A), Cromwell Road, London SW7 2RL, www.vam.ac.uk Holds the National Collection of the Art of Photography including the collection of the Royal Photographic Society (RPS).

OTHER ARCHIVES

Autograph-Association of Black Photographers, Rivington Place, London EC2A 3BA, www.autograph-abp.co.uk

The Documentary Photography Archive, 56 Marshall Street, Manchester N4 5FU, https://www.manchester.gov.uk/info/448/archives_and_local_studies/4689/documentary_photography_archive

Jo Spence Memorial Archive, Birkbeck University of London, 43 Gordon Square, London WC1H 0PD, http://www.bbk.ac.uk/research/centres/history-and-theory-of-photography/jo-spence-memorial-library

National Sound Archive, British Library, 96 Euston Road, London NW1 2DB, www.bl.uk/soundarchive (search by name of photographer) Interviews with contemporary photographers

The Women’s Library, LSE Library, 10 Portugal Street, London, WC2A 2HD, https://digital.library.lse.ac.uk/collections/thewomenslibrary Includes the Fawcett Library (women’s rights)

Many organisations, including newspapers and commercial companies, maintain their own archives. However, access to these may be limited, by appointment only or based on payment of search fees. Among the foremost such collections are:

Hulton Getty Picture Collection, www.gettyimages.com/archival See website for worldwide offices and locations. Archives include Picture Post, Express, Evening Standard

Mary Evans Picture Library, 59 Tranquil Vale, London SE3 0BS, www.maryevans.com

Most city libraries include photography in their local history collections. Sometimes this covers major bodies of work; for example, Edinburgh City Libraries house a large collection of calotypes by Hill and Adamson. Birmingham City Library holds a significant collection of historical work from central England.

ARCHIVES IN THE USA

International Museum of Photography and Film, George Eastman House, 900 East Avenue, Rochester, New York 14607, https://www.eastman.org/collections-online Work by over 10,000 photographers; more than 400,000 photographs and negatives

New York Public Library Photography Collection, Fifth Avenue and 42nd Street, New York, NY 10018, http://wallachprintsandphotos.nypl.org/ Work by over 2,000 photographers, nearly 400,000 photographic prints

Collections with holdings of over 1,000 photographers

Art Institute of Chicago, 111 South Michigan Avenue, Chicago, IL 60603, www.artic.edu/aic/collections/photo

Center for Creative Photography, University of Arizona, 1030 N. Olive Road Tucson, AZ 85721, www.creativephotography.org/collections

Colorado Historical Society, 1200 Broadway, Denver, Colorado 80203, https://www.historycolorado.org/collection Holds 750,000 photographic images and 250,000 negatives

Getty Center for the History of Art and the Humanities, 1200 Getty Center Drive, Los Angeles, CA 90049, www.getty.edu/research/tools/photo/ Archive of 1.5 million images

Harry Ransom Humanities Research Center, University of Texas at Austin, 300 West 21st Street, Austin, TX 78712, www.hrc.utexas.edu/collections/photography Houses over five million photographs

The Library of Congress, Prints and Photographs Division, 101 Independence Avenue, SE, Washington DC 20540–4730, www.loc.gov/pictures/ Over 13.7 million prints and photographs including early daguerreotypes

Metropolitan Museum of Art, New York (Department of Photographs), 1000 Fifth Avenue at 82nd Street, New York, NY 10028, www.metmuseum.org/about-the-museum/museum-departments/curatorial-departments/photographs

Museum of Fine Arts, 1001 Bissonnet Street, Houston, Texas TX 77005, https://emuseum.mfah.org/groups/photography

Museum of Modern Art, 11 West 53rd Street, New York, NY 10019, https://www.moma.org/collection/terms/126 Has been collecting photographs since 1930 and holds over 25,000 works from 1840 to now. A large gallery is devoted to permanent collections where vintage prints of the great photographers are housed. Contemporary photographs are also held

National Museum of American History, Smithsonian Institute, Between 12th and 14th Streets, Constitution Ave, NW, Washington DC 20013, http://americanhistory.si.edu/collections/subjects/photography

New Orleans Museum of Art, 1 Collins Diboll Circle, City Park, New Orleans, LA 70124, https://noma.org/collection/category/photography/

San Francisco Museum of Modern Art, 151 Third Street, San Francisco, CA 94103, www.sfmoma.org/explore/collection/photography

University of New Mexico, Albuquerque, NM 87131, http://econtent.unm.edu/ 80,000 images dating from the 1850s to the recent past, focussing on histories of New Mexico, the Southwest and Latin America

Visual Studies Workshop, 31 Prince Street, Rochester, New York 14607, http://www.vsw.org/collections/search-photography-collections/

Women in Photography International Archive, Beinecke Rare Book and Manuscript Library, Yale University, 121 Wall Street, New Haven, Connecticut 06511, www.cla.purdue.edu/waaw/palmquist/index.htm

For smaller archives, and for listings of photographers included in the collections listed above, see Andrew H. Eskind (ed.) (1995) Index to American Photographic Collections, compiled at the International Museum of Photography at George Eastman House, Rochester, revised edn, New York: G.K. Hall & Co.

See also USA Photography Guide (1998 3rd edn, Tucson/Munich: Nazraeli Press) for details of galleries, publishers, associations, museums and collections, and courses.

ARCHIVES ELSEWHERE

(ENGLISH-LANGUAGE BASED)

Australia

Collections of photography are held at:

Art Gallery of New South Wales, Art Gallery Road, The Domain, Sydney, NSW 2000, www.artgallery.nsw.gov.au/collection/photography/

LaTrobe Library, State Library of Victoria, 328 Swanston Street, Melbourne, Victoria 3000, https://www.slv.vic.gov.au/search-discover/explore-collections-format/pictures

Mitchell Library, State Library of New South Wales (major photography collection), Macquarie Street, Sydney, NSW 2000, https://search.sl.nsw.gov.au/primo-explore/search?vid=SLNSW

National Gallery of Australia, Parkes Place, Canberra, ACT 2601, www.nga.gov.au/Photography/Index.cfm (Art collection including photography)

National Gallery of Victoria, PO Box 7259, Melbourne, Victoria 3004, www.ngv.vic.gov.au/collection

National Library of Australia, Parkes Place, Canberra. ACT 2600, www.nla.gov.au/pict

Queensland Art Gallery, Stanley Place, South Bank/PO Box 3696, South Brisbane, Queensland 4101, www.qagoma.qld.gov.au/collection

Canada

Library and Archives Canada, 395 Wellington Street, Ottawa, ON K1A0N4, https://bac-lac.on.worldcat.org/discovery?lang=en

National Gallery of Canada, 380 Sussex Drive, PO Box 427, Station A, Ottawa, Ontario K1N 9N4, www.gallery.ca/en/see/collections/category_index.php (click on Photography) An international collection of almost 20,000 photographs ranging from early photography to the contemporary

Ryerson Image Center, 3 Gould Street, Toronto, Ontario M5B 1W1, https://ryersonimagecentre.ca/. Includes the Black Star Collection of twentieth-century photo-reportage; also several artists' archives.

New Zealand

Alexander Turnbull Library, POB 12349, Wellington 6144, www.natlib.govt.nz/collections/a-z-of-all-collections/photographic-archive Some 846,000 photographs

Auckland Museum, Private Bag 92018, Victoria Street West, Auckland 1142, https://www.aucklandmuseum.com/discover/collections

National Archives, 10 Mulgrave Street, PO Box 12–050, Thorndon, Wellington, www.archives.govt.nz Over 200,000 photographs

For listings of all major and regional photograph collections in New Zealand see Directory of New Zealand Photograph Collections, 1992.

Note: for other European archives see H. Evans and M. Evans (compilers) Picture Researcher’s Handbook: An International Guide to Picture Sources and How to Use Them, London: Chapman and Hall. See also European Photography Guide 8, Göttingen: European Photography 2003 which includes information for over 3,000 individuals and institutions in 33 European countries and also information on magazines and journals, grants, awards, festivals and fairs, auctions and bookstores.

KEY BRITISH MAGAZINES AND JOURNALS

It is difficult to keep track of all serious photography magazines and journals that include historical, political and theoretical essays and critical responses to artists’ works or to new developments especially as in recent years the number of new academic journals, magazines and serious photoblogs has expanded, especially online. The following list represents some of those that are well-established or are of particular historic interest.

British Journal of Photography, London (founded 1854), weekly. Focus on commercial photography. www.bjp-online.com

Camerawork, London (until 1985). Concerned with social and political issues

Creative Camera, London (until 2001) published six times a year. Contemporary gallery-based photography

History of Photography (academic journal, founded 1977), quarterly. www.tandfonline.com/toc/thph20/current

Philosophy of Photography, Vol 1, issue 1, March 2010, twice-yearly. www.intellectbooks.co.uk/journals/view-journal,id=186/

Photographies, Vol 1, Issue 1, Spring 2008, three times a year. www.tandfonline.com/toc/rpho20/current

Photography and Culture, Vol 1, Issue 1, Spring 2008 https://www.tandfonline.com/loi/rfpc20, quarterly

Photoworks, previously published twice a year; annual since 2013, Brighton, http://photoworks.org.uk

Portfolio, Edinburgh, (until 2010) biannual. www.portfoliocatalogue.com

Source, Belfast, quarterly. www.source.ie/index.php

Ten/8, Birmingham (until 1992; titled Ten.8 in the two final issues)

KEY NORTH AMERICAN MAGAZINES AND JOURNALS

Afterimage, Visual Studies Workshop, Rochester, NY. Issues in photography and video. https://online.ucpress.edu/afterimage

Aperture New York/San Francisco, quarterly since 1952. Themed issues and portfolios. (Also for photography books.) www.aperture.org/magazine

Blackflash, The Photographers Gallery, Saskatoon, Saskatchewan, Canada. Three yearly. Journal of photo-based and electronic-art production. www.blackflash.ca/themagazine/about

Border Crossings; Winnipeg, Manitoba, quarterly. An interdisciplinary arts review featuring articles, book reviews, artist profiles, and interviews covering the full range of the contemporary arts in Canada and internationally. http://bordercrossingsmag.com

Canadian Art, Toronto, Ontario, quarterly. Visual arts in Canada. Includes critical profiles of new artists and established art world figures. www.canadianart.ca/

October, The MIT Press, Cambridge, MA, quarterly since 1976. Academic journal: art, criticism, theory and history. www.mitpressjournals.org/loi/octo

OTHER MAGAZINES AND JOURNALS

Published in English or with translation

Camera Austria, contemporary photography. Quarterly. www.camera-austria.at

European Photography, Göttingen, Germany, founded 1980. Twice yearly. https://equivalence.com/pavillon/pav_ep_info.shtml

Flash Art International, European Art magazine, first published as Flash, 1996. Quarterly. www.flashartonline.com

PhotoResearcher, published by the European Society for the History of Photography, founded 1990. Twice yearly. http://www.eshph.org/journal/

WEBSITES

Dealing with photography and digital media. These are just a few longer-established online options from what is now a huge range of sites. You should also use keyword searches, to ensure you find the most up-to-date resources.

LEONARDO http://leonardo.info/leoinfo.html

An electronic journal dedicated to providing a forum for those who are interested in the convergence of art, science and technology. Includes: profiles of media arts facilities and projects; profiles of artists using new media; feature articles comprised of theoretical and technical perspectives; an on-line gallery exhibiting new media art.

PHOTOMONITOR www.photomonitor.co.uk

An online magazine focused on artists using lens-based media in the UK and Ireland.

STILL SEARCHING https://www.fotomuseum.ch/en/explore/still-searching/

A blog written by guest critics commissioned by Fotomuseum, Winterthur, Switzerland.

ZONEZERO www.zonezero.com/

ZoneZero is dedicated to photography and its journey from the analogue to digital world. It aims to carry an ongoing debate on all the issues surrounding the ‘representation of reality’ and other subjects relevant to the transition from analogue to digital image-making. It aims to promote an understanding of where, in the context of the digital age, the tradition of the ‘still image’ is headed. Carries extensive online exhibitions of photography particularly featuring Latin American work.

Further Reading

Further Reading

Adams, Robert (1996) Beauty in Photography, New York: Aperture

Ades, Dawn (1974) Dada and Surrealism, London: Thames and Hudson

Addison, Graeme (1984) ‘Drum Beat: An examination of Drum’, Creative Camera: 235/236, July/August: 1465

AFP (2003) ‘Pan-European Security Body Slams TV for Turning War into Entertainment’, 1 April, www.spacedaily.com/2003/030401163856.i0695hif.html

Agee, J. and Evans, W. (1941) Let Us Now Praise Famous Men, New York: Random House

Aitken, Ian (1990) Film and Reform, London: Routledge

Alexander, S. (1998) ‘Photographic Institutions and Practices’ in Michel Frizot A New History of Photography, Cologne: Könemann

Allan, Stuart (2006) Online News: Journalism and the Internet, Buckingham: Open University Press

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Weibel, Peter (1996) ‘The World as Interface’ in Timothy Druckery (ed.) Electronic Culture, New York: Aperture

Weiss, Marta (2018) Making It Up: Photographic Fictions. London: Thames & Hudson/V&A

––––  (2009) ‘Repression and Representation: The RAF in German Postwar Art’, in S. Barron and S. Eckmann (eds) Art of Two Germanys/Cold War Cultures, New York: Abrams

Wells, Liz (1992) ‘Judith Williamson, Decoding Advertisements’ in M. Barker and A. Beezer (eds) Reading into Cultural Studies, London: Routledge

–––– (ed.) (1994) Viewfindings, Women Photographers: ‘Landscape’ and Environment, Tiverton, Devon: Available Light

–––– (ed.) (2009) Photography: A Critical Introduction. Fourth edition. London and New York: Routledge

–––– (2011) Land Matters: Landscape Photography, Culture and Identity, London: I.B. Tauris

––––  (2013) ‘We were there’ in Theopisti Stylianou-Lambert Tourists Who Shoot. Nicosia: Armida Publications Ltd.

Werge, J. (1890) The Evolution of Photography, London

Weski, T. (2003) ‘Cruel and Tender’ in E. Dexter and T. Weski (eds) Cruel and Tender, London: Tate Publishing

West, Nancy Martha (2000) Kodak and the Lens of Nostalgia, Virginia: University of Virginia Press

Westerbeck, Colin and Meyerowitz, Joel (1994) Bystander: A History of Street Photography, London: Thames and Hudson

Wilkinson, Helen (1997) ‘“The New Heraldry”: Stock Photography, Visual Literacy and Advertising in 1930s Britain’, Journal of Design History 10(1)

Willett, John (1978) The New Sobriety, Art and Politics in the Weimar Period, London: Thames and Hudson

Williams, Linda (1995) ‘Corporealized Observers: Visual Pornographies and the Carnal Density of Vision’ in Patrice Petro Fugitive Images, Bloomington: Indiana University Press

Williams, Raymond (1974) Television, Technology and Cultural Form, London: Fontana

–––– (1976) Keywords, London: Fontana

–––– (1979) ‘The Arts Council’, Political Quarterly, Spring

–––– (1980) ‘Advertising the Magic System’ in Problems in Materialism and Culture, London: Verso

–––– (1989) ‘When Was Modernism’ in The Politics of Modernism, London: Verso

Williams, Val (1986) Women Photographers. The Other Observers, 1900 to the Present, London: Virago. Revised edition 1991, The Other Observers. Women Photographers from 1900 to the Present

–––– (1994) Who’s Looking at the Family?, London: Barbican Art Gallery. Exhibition catalogue and introduction

–––– (1998) Look at Me: Fashion and Photography in Britain, 1960 to the Present, London: British Council

Williamson, Judith (1978) Decoding Advertisements: Ideology and Meaning in Advertising, London: Marion Boyars

–––– (1979) ‘Great History that Photographs Mislaid’ in P. Holland, J. Spence and S. Watney (eds) Photography/Politics: One, London: Comedia

Willis, A-M. (1990) ‘Digitisation and the Living Death of Photography’ in P. Hayward (ed.) Culture, Technology, and Creativity in the Late Twentieth Century, London: John Libbey and Co. Ltd

Winship, Janice (1987a) ‘Handling Sex’ in R. Betterton (ed.) Looking On: Images of Femininity in the Visual Arts and Media, London: Pandora

–––– (1987b) Inside Women’s Magazines, London: Pandora

Wollen, Peter (1982 [1978]) ‘Photography and Aesthetics’, Screen 19(4) Winter. Reprinted in Readings and Writings, London: Verso and New Left Books

Wombell, P. (1991) PhotoVideo: Photography in the Age of the Computer, London: Rivers Oram Press

Ziff, T. (1991) ‘Taking New Ideas Back to the Old World’ in P. Wombell (ed.) PhotoVideo: Photography in the Age of the Computer, London: Rivers Oram Press

Žižek, Slavoj (1997) ‘Multiculturalism, or the Cultural Logic of Multinational Capitalism’, New Left Review I/225, September–October

Thematic Bibliography

The Archive

Benjamin, Walter (2015) Walter Benjamin's Archive Verso

Derrida, Jacques & Prenowitz, Eric (2017) Archive Fever: A Freudian Impression University of Chicago Press

Iles, Chrissie & Roberts, Russell (1999) In Visible Light: Photography and Classification in Art, Science and the Everyday, Museum of Modern Art

Merewether, Charles ed. (2006) Archive: Documents of Contemporary Art Whitechapel Art Gallery

Enwezor, Okwui & Hartshorn, Willis E. (2008) Archive Fever: Uses of the Document in Contemporary Art, Steidl

Steedman, Carolyn (2002) Dust (Encounters), Manchester University Press

Smith, Shawn Michelle (1999) American Archives: Gender, Race, and Class in Visual Culture, Princeton University Press

Tagg, John (2009) Disciplinary Frame: Photographic Truths and the Capture of Meaning, University of Minnesota Press

The Animal

Baker, Steve (2000) The Postmodern Animal, Reaktion Books

Baker, Steve (2001) Picturing the Beast: Animals, Identity and Representation, University of Illinois Press, New edition

Barth, Miles & Merritt, Ray (2000) A Thousand Hounds, Taschen GmbH

Berger, John (2009) Why Look at Animals?, Penguin Great Ideas

Calarco, Matthew (2008) Zoographies: The Question of the Animal from Heidegger to Derrida, Columbia University Press

Cavell, Stanley (2008) Philosophy and Animal Life, Columbia University Press

Rothfels, Nigel (2003) Representing Animals, Indiana University Press

Daston, Lorraine & Mitman, Gregg (2006) Thinking with Animals: New Perspectives on Anthropomorphism, Columbia University Press

Demello, Margo (2021) Animals and Society: An Introduction to Human-Animal Studies, second edition, Columbia University Press

Derrida, Jacques (2008) The Animal That Therefore I Am, Fordham University Press

Douglas, Mary (2002) Purity and Danger: An Analysis of Concepts of Pollution and Taboo, Routledge Classics

Haraway, Donna (1990) Primate Visions: Gender, Race, and Nature in the World of Modern Science, Routledge

Haraway, Donna J (2007) When Species Meet, University of Minnesota Press

Hurn, Samantha (2012) Humans and Other Animals: Cross-Cultural Perspectives on Human-Animal Interactions, Pluto Press

Noble, Aleaxandra ed. (1986) The Animal in Photography, Photographer's Gallery

Thomas, Keith (1991) Man and the Natural World: Changing Attitudes in England 1500 – 1800, Penguin Books

Thompson, Nato & Cox, Christoph (2005) Becoming Animal: Contemporary Art in the Animal Kingdom, MIT Press

Wolfe, Cary (2003) Zoontologies: The Question of the Animal, University of Minnesota Press

Art

Battistini, Matilde (2006) Symbols and Allegories in Art, third edition, Getty Publications

Carr-Gomm, Sarah (2003) The Secret Language of Art: The Illustrated Decoder of Symbols and Figures in Western Painting, Duncan Baird Publishing

Hung, Wu (2006) Transience: Chinese Experimental Art at the End of the Twentieth Century, University of Chicago Press

Morgan, David (2005) The Sacred Gaze: Religious Visual Culture in Theory and Practice, University of California Press

Ross, Christine (2006) The Aesthetics of Disengagement: Contemporary Art and Depression, University of Minnesota Press

Stoichita, Victor (2018) A Short History of the Shadow, Reaktion Books

Architectural Space

Betsky, Aaron (1990) Violated Perfection: Architecture and the Fragmentation of the Modern, Rizzoli International Publications

Giedion, Sigfried (2014) Architecture and the Phenomena of Transition: The Three Space Conceptions in Architecture, reprint edition, Harvard University Press

Lynn, Greg (2011) Animate Form, Princeton Architectural Press

Tschumi, Bernard (1996) Architecture and Disjunction, MIT Press

Willis, Daniel (1999) The Emerald City: And Other Essays on the Architectural Imagination, Princeton Architectural Press

Bibliography

Jan Baetens ed. (2010) Time and Photography, Leuven University Press

Bailey Gill, Carolyn ed. (2000) Time and the Image, Manchester University Press

Benjamin, Walter (2019) Illuminations, Houghton Mifflin Harcourt

Bergson, Henri (2004) Matter and Memory, Dover Publications Inc

Braun, Marta (1995) Picturing Time: Work of Etienne-Jules Marey (1830-1904), University of Chicago Press

Campany, David (2008) Photography and Cinema, Reaktion Books

Dagognet, Francois (1993) Etienne-Jules Marey: A Passion for the Trace, Zone Books

Doane, Mary Ann (2003) The Emergence of Cinematic Time: Modernity, Contingency, The Archive, Harvard University Press

Eco, Umberto, Lippincott, Kristen & Gombrich, Ernst H (2000) The Story of Time, National Maritime Museum

Green, David & Lowry, Joanne (2005) Stillness and Time: Photography and the Moving Image, PhotoWorks

Meadows, Mark Stephen (2002) Pause and Effect: the Art of Interactive Narrative, New Riders

Prodger, Philip ed. (2003) Time Stands Still: Muybridge and the Instantaneous Photography Movement, Oxford University Press

Quinones J. Ricardo (1973) The Renaissance Discovery of Time, Harvard University Press

The Body

Bakhtin, Mikhail Mikhailovich (2009) Rabelais and his World, Indiana University Press

Bright, Deborah (1998) The Passionate Camera: Photography and Bodies of Desire, Routledge

Foucault, Michel (2003) The Birth of the Clinic: An Archaeology of Medical Perception, Routledge Classics

Foucault, Michel (2020) Discipline and Punish: the Birth of the Prison, Penguin Modern Classics

Grosz, Elizabeth (1995) Space, Time and Perversion: Essays on the Politics of Bodies, Routledge

Jones, Amelia and Andrew Stephenson (eds) (1999) Performing the Body, Performing the Text, Routledge

McGrath, Roberta (2002) Seeing Her Sex, Manchester University Press

Scarry, Elaine (1987) The Body in Pain: The Making and Unmaking of the World, Oxford University Press

Sekula, Allan (1986) “The Body and the Archive” in October, 3 (Winter 1986)

Stafford, Barbara Maria (1991) Body Criticism: Imaging the Unseen in Enlightenment Art and Medicine, MIT Press

Townsend, Chris (1998) Vile Bodies: Photography and the Crisis of Looking, Prestel Verlag

Cinema

Chatman, Seymour (1985) Antonioni or, The Surface of the World, University of California Press

Friedberg, Anne (1994) Window Shopping: Cinema and the Postmodern, University of California Press

Lippard, Chris (ed.) (1996) By Angels Driven: the Films of Derek Jarman, Flick Books (pages 148-153)

Mulvey, Laura (2009) Visual and Other Pleasures second edition, Palgrave Macmillan

Rascaroli, Laura & Rhodes, John David (2011) Anonioni: Centenary Essays, British Film Institute

Silverman, Kaja (1988) The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema, Indiana University Press

Cinematic Space

Eisner, Lotte (2008) The Haunted Screen: Expressionism in the German Cinema and the Influence of Max Reinhardt, second edition, University of California Press

Elsaesser, Thomas & Barker, Adam eds. (1990) Early Cinema: Space, Frame, Narrative, British Film Institute

Colour

Albers, Josef (2013) The Interaction of Colour: 50th Anniversary Edition, Yale University Press

Batchelor, David (2000) Chromophobia, Reaktion Books

Birren, Faber (1988) Color and Human Response: Aspects of Light and Color Bearing on the Reactions of Living Things and the Welfare of Human Beings, Van Nostrand Reinhold Company

Dyer, Richard (2017) White: Twentieth Anniversary Edition, Routledge

Feisner, Edith Anderson (2001) Colour: How to Use Colour in Art and Design, Laurence King Publishing

Gage, John (2000) Colour and Meaning: Art, Science and Symbolism, Thames and Hudson

Gage, John (1995) Colour and Culture: Practice and Meaning from Antiquity to Abstraction, Thames and Hudson

Gass, William H. (2014) On Being Blue: A Philosophical Inquiry, New York Review of Books Classics

Goethe (1970) Theory of Colours, MIT Press

Hedgecoe, John (1998) The Art of Colour Photography, second edition, Mitchell Beazley. 

Hirsch, Robert (2015) Exploring Colour Photography, sixth edition, Routledge

Horenstein, Henry (1995) Color Photography: a Working Manual Little, Brown & Co.

Itten, Johannes; Birren, Faber (1970) Elements of Color, John Wiley & Sons, Inc.

Jarman, Derek (1995) Chroma: a book of Colour – June ’93, Vintage

Overy, Paul (1969) Kandinsky: The Language of the Eye, Elek Books

Pastoureau, Michel (2018) Blue: the History of a Colour reprint edition, Princeton University Press

Thompson, Evan (1995) Colour Vision: Study in Cognitive Science and the Philosophy of Science, Routledge

Zelanski, Paul & Fisher, Mary Pat (2008) Color, sixth edition, Pearson

Constructed

Barthes, Roland (1993) Image-Music-Text, Fontana

Cotton, Charlotte (2014) The Photograph as Contemporary Art, third edition Thames & Hudson

Einzig, Barbara ed (1996) Thinking about Art: Conversations with Susan Hiller, Manchester University Press

Kohler, Michael A (ed) (1995) Constructed Realities: The Art of Staged Photography, Edition Stemmle

Lori, Pauli (ed) Acting the Part: A History of Staged Photography, Merrell Publishers

Mack, Michael ed (1997) Contemporary Photographic Practice, Booth-Clibborn

McEvilley, Thomas (1998) Art and Discontent: Theory at the Millennium, McPherson & Co

Roberts, John (1998) The Art of Interruption: Realism, Photography and the Everyday, Manchester University Press

Rose, Andrea (1999) De-composition: Constructed Photography in Britain, The British Council

Critical Theory

Buchanan, Ian & Lambert, Gregg eds. (2005) Deleuze and Space, Edinburgh University Press

de Certeau, Michel (2011) The Practice of Everyday Life, third edition,University of California Press

Hubbard, Phil J, Kitchin, Rob & Valentine, Gill eds. (2004) Key Thinkers on Space and Place, Sage

Lefebvre, Henri (1991) The Production of Space, Wiley-Blackwell

Shields, Rob (1998) Lefebvre, Love and Struggle: Spatial Dialectics, Routledge

Soja, Edward W (1996) Thirdspace: Journeys to Los Angeles and Other Real and Imagined Places, Wiley-Blackwell

Jammer, Max (2003) History and Theory of Space, Dover Publications

Grant, Edward (2008) Much Ado About Nothing: Theories of Space from Middle Ages to the Scientific Revolution, Cambridge University Press

Henderson, Linda Dalrymple  (2018) The Fourth Dimension & Non-Euclidean Geometry in Modern Art, MIT Press

Jammer, Max (2003) Concepts of Space: The History of Theories of Space in Physics, Dover Publications

Kern, Stephen (2003) The Culture of Time and Space 1880-1918, Second Edition, Harvard University Press

Massey, Doreen (2005) For Space, Sage

Murdoch, Jonathan (2005) Post-Structuralist Geography: A Guide to Relational Space, SAGE Publications

Wertheim, Margaret (1999) The Pearly Gates of Cyberspace: a History of Space from Dante to the Internet,Virago

Critical Thinking/Research/Study Skills

Barrett, Estelle; Bolt, Barbara (2019) Practice as Research: Approaches to Creative Arts Inquiry, Bloomsbury Visual Arts

Belsey, Catherine (2002) Critical Practice, (New Accents) Routledge

Cottrell, Stella (2019) The Study Skills Handbook, fifth edition, Palgrave Macmillan

Berry, Ralph (2004) The Research Project: How to Write It, (Routledge Study Skills) fifth edition, Routledge

Booth, Wayne C., Colomb, Gregory G. & Williams ,Joseph M. (2016) The Craft of Research, fourth edition, University of Chicago Press

Brink-Budgen, Roy van den (2000) Critical Thinking for Students: Learn the Skills of Critical Assessment and Effective Argument, third edition, How To Books

Cottrell, Stella (2011) Critical Thinking Skills: Developing Effective Analysis and Argument, second edition, Palgrave Macmillan

Fisher, Alec (2011) Critical Thinking: An Introduction, second edition, Cambridge University Press

Huff, Anne Siomund (1999) Writing for Scholarly Publication, Sage

Leitch, Vincent B. et al. eds (2018) The Norton Anthology of Theory and Criticism, third edition, W. W. Norton

Luck, Martin (1999) Your Student Research Project, Routledge

McMillan, Kathleen, & Weyers, Jonathan (2007) How to Write Dissertations and Research Projects Harlow: Pearson Education

Robson, Colin, (2007) How to do a Research Project: A Guide for Undergraduate Students, Blackwell Publishing

Rose, Gillian (2006) Visual Methodologies: An Introduction to the Interpretation of Visual Methods, Sage Publications

Soles, Derek ed. (2005) The Academic Essay: How to Plan, Draft, Write and Edit, second edition, Studymates

Cyberspace

Benedikt, Michael (1992) Cyberspace: First Steps, MIT Press

Death and the Image

Azoulay, Ariella (2001) Death's Showcase: the Power of the Image in Contemporary Democracy, MIT Press

Bronfen, Elisabeth (1992) Over Her Dead Body: Death, Femininity and the Aesthetic, Manchester University Press

Bronfen, Elisabeth (1993) Death and Representation, Manchester University Press

Davies, Douglas (2004) A Brief History of Death, John Wiley & Sons

Guthke, Karl S (2009) The Gender of Death: A Cultural History of Art and Literature, Cambridge University Press

Hallam, Elizabeth (2001) Death, Memory and Material Culture, Routledge

Linkman, Audrey (2011) Photography and Death, Reaktion Books

Townsend, Chris (2008) Art and Death, I B Taurus

Difference

Cartwright, Lisa & Sturken, Marita (2017). Practice of Looking: An Introduction to Visual Culture, third edition, Oxford University Press.

Hall, Stuart (2001) Different, Phaidon Press.

Lalvani, Suren (1996) Photography, Vision and the production of modern bodies, State University of New York Press

Lawless, Elinor & Ringer, Benjamin (1989) Race – Ethnicity and Society, Routeledge

Thornham, Sue, Marris, Paul & Bassett, Caroline (2009) Media Studies: A Reader, third edition, Edinburgh University Press

Mc. Evilley, Thomas (1998) Art and Otherness: Crisis in Cultural Identity, McPherson & Company

Newall, Diana & Pooke, Grant (2021) Art History: The Basics, second edition, Routledge

Ruterford, Jonathan (2003). Identity, Community, Culture, Difference, Lawrence & Wishart Ltd.

Digital Culture

Baudrillard, Jean (1994) Simulacra and Simulation, The University of Michigan Press

Benedikt, Michael (1992) Cyberspace: First Steps, MIT Press

Darley, Andrew (2000) Visual Digital Culture: Surface Play and Spectacle in New Media Genres, Routledge

Dovey, John (1996) Fractal Dreams: New Media in Social Context, Lawrence and Wishart

Eco, Umberto (1990) Travels in Hyperreality: Essays, Harcourt

Elsaesser, Thomas & Hoffmann, Kay (2014) Cinema Futures: Cain, Abel or Cable?  The Screen Arts in the Digital Age, second edition, Amsterdam University Press

Grau, Oliver (2004) Virtual Art: From Illusion to Immersion, The MIT Press

Haraway, Donna J (1991) Simians, Cyborgs, and Women: The Reinvention of Nature, Free Association Books

Hayward, Philip & Wollen, Tana (1993) Future Visions: New Technologies of the Screen, Bfi Publishing

Hershman Leeson, Lynn ed. (1996) Clicking In: Hot Links to a Digital Culture, Bay Press

Holtzman, Steven R (1994) Digital Mantras: the Languages of Abstract & Virtual Worlds, MIT Press

Holtzman, Steven R (1997) Digital Mosaics: the Aesthetics of Cyberspace, Simon and Schuster

Murray, Janet H. (2017) Hamlet on the Holodeck: The Future of Narrative in Cyberspace, new edition, The MIT Press

Rieser, Martin & Zapp, Andrea eds. (2001) New Screen Media: Cinema /Art/Narrative, BFI Publishing

Ryan, Marie-Laure (2016) Narrative as Virtual Reality 2: Revisiting Immersion and Interactivity in Literature and Electronic Media, Johns Hopkins University Press

Rush, Michael (1999) New Media in Late Twentieth Century Art, Thames and Hudson

Tofts, Darren & McKeich, Murray (1997) Memory: Trade: A Prehistory of Cyberculture, Craftsman House

Turkle, Sherry (1995) Life on the Screen: Identity in the Age of the Internet, Simon & Schuster

Turkle, Sherry (2005) The Second Self: Computers and the Human Spirit, MIT Press

Ziegler, Kathleen ed. (2001) Digital Focus: the New Media of Photography, North Light Books

Embodiment

Burkitt, Ian (1999) Bodies of Thought: Embodiment, Identity and Modernity, Sage

Buci-Glucksmann, Christine (2013) The Madness of Vision: on Baroque Aesthetics, Ohio University Press

Csordas, Thomas J. (1995) Embodiment and Experience: the Existential Ground of Culture and Self, Cambridge University Press

Jackson, Michael (1996) Things As They Are: New Directions in Phenomenological Anthropology, John Wiley & Sons

Lock, Margaret & Farquhar, Judith (2007) Beyond the Body Proper: Reading the Anthropology of Material Life, Duke University Press

Thompson, Evan (2010) Mind in Life: Biology, Phenomenology, and the Sciences of Mind, Belknap Press of Harvard University Press

Weiss, Gail & Haber, Honi Faber (1999) Perspectives on Embodiment: The Intersections of Nature and Culture,Routledge

Weiss, Gail (1998) Body Images: Embodiment as Intercorporeality, Routledge

Young, Iris Marion (2005) On Female Body Experience: Throwing like a Girl and Other Essays, OUP USA

Family Album

Hirsch, Marianne (1999) The Familial Gaze, Dartmouth College

Hirsch, Marianne (1989) The Mother/Daughter Plot: Narrative, Psychoanalysis, Feminism (A Midland Book), Indiana University Press

Kuhn, Annette & Kirsten McAllister eds. (2006) Locating Memory: Photographic Arts (Remapping Cultural History), Berghahn Books

Langford, Martha (2021) Suspended Conversations: the Afterlife of Memory in Photographic Albums, Second Edition, McGill-Queen’s University Press

Family and Vernacular Photography

Gibbons, Joan (2019) Contemporary Art and Memory: Images of Recollection and Remembrance, Bloomsbury

Hirsch, Marianne (1997) Family Frames: Photography, Narrative and Post-memory, Harvard University Press

Holland, Patricia & Spence, Jo, eds. (2000) Family Snaps: the meanings of domestic photography, Virago

Kuhn, Annette (2002) Family Secrets: Acts of Memory and Imagination, Verso

Langford, Martha (2021) Suspended Conversations: the Afterlife of Memory in Photographic Albums, second edition, McGill-Queens University Press

Williams, Val (1994) Who's Looking at the Family, Barbican Art Gallery

Gender

Abel, Elizabeth (1997) Female Subjects in Black and White: Race, Psychoanalysis, Feminism, University of California Press

Arscott, Caroline & Scott, Katie, eds. (2000) Manifestations of Venus: Art & Sexuality Manchester University Press

Belsey, Catherine (1997) The Feminist Reader, second edition, Palgrave

Berger, Maurice, Wallis, Brian & Watson, Simon (1995) Constructing Masculinity, Routledge

Borzello, Frances (2018) Seeing Ourselves: Women's Self Portraits, Thames & Hudson

Butler, Judith (2006) Gender Trouble, Routledge

Butler, Judith (2011) Bodies that Matter: On the Discursive Limits of Sex, Routledge

Clement, Catherine & Kristeva, Julia (2001) The Feminine and the Sacred, Columbia University Press

Grosz, Elizabeth (1994) Volatile Bodies: Towards a Corporeal Feminism, Indiana University Press

Hirsch, Marianne (1989) The Mother/Daughter Plot: Narrative, Psychoanalysis, Feminism, Indiana University Press

Lowy, Dina (2007) The Japanese New Woman: Images of Gender and Modernity, Rutgers University Press

Pacteau, Francette (2013) The Symptom of Beauty, Reaktion Books

Perry, Gillian (1999) Gender and Art, Yale University Press

Pollock, Griselda (2003) Vision and Difference: Femininity, Feminism and Histories of Art, Routledge

Rose, Jacqueline (2006) Sexuality in the Field of Vision, Verso

Solomon-Godeau, Abigail (1999) Male Trouble: a Crisis in Representation, Thames & Hudson

Silverman, Kaja (1988) The Acoustic Mirror: The Female Voice in Psychoanalysis and Cinema, Indiana University Press

Silverman, Kaja (1992) Male Subjectivity at the Margins, Routledge

Tietjens Meyers, Diana (1997) Feminist Social Thought: A Reader, Routledge

Tseelon, Efrat (2001) Masquerade and Identities: Essays on Gender, Sexuality and Marginality, Routledge

Warner, Marina (1996) Monuments and Maidens: The Allegory of the Female Form, Vintage

Warner, Marina (2016) Alone of All Her Sex: Cult of the Virgin Mary, Oxford University Press

General Books: Photography

Adams, Robert (2004) Why People Photograph, Aperture

Badger, Gerry (2007) The Genius of Photography, Quadrille Publishing

Barthes, Roland (2020) Camera Lucida, Vintage Classics

Bate, David (2019) Photography (Key Concepts), second edition, Routledge

Costello, Diarmuid & Iversen, Margaret (2010) Photography After Conceptual Art, Wiley-Blackwell

Durden, Mark & Bond, Henry (2012) Fifty Key Writers on Photography, Routledge

Edwards, Steve (2006) Photography: A Very Short Introduction, Oxford University Press

Trachtenberg, Alan (1980) Classic Essays on Photography, Leete's Island Books

Stafford, Barbara Maria (2002) Devices of Wonder: From the World in a Box to Images on a Screen, Getty Publications

History of Photography

Barger, Susan M. & White, William B. (2000) Daguerreotype: Nineteenth-Century Technology and Modern Science, John Hopkins University Press

Batchen, Geoffrey (1999) Burning with Desire: Conceptions of Photography, MIT Press

Newhall, Beaumont(1984) The History of Photography: From 1839 to the Present, The Museum of Modern Art

Benjamin, Walter (2011) A Short History of Photography, Kindle edition

Bolton, Richard (1992) The Contest of Meaning: Critical Histories of Photography MIT Press

Clarke, Graham (1997) The Photograph: A Visual and Cultural History Oxford University Press

Coe, Brian (1976) The Birth of Photography: The Story of the Formative Years: 1800-1900 Ash & Grant

Davenport, Alma (1999) The History of Photography University of New Mexico Press

Edwards, Elizabeth (2012) The Camera as Historian: Amateur Photographers and Historical Imagination, 1885 – 1918, Duke University Press

Emerling, Jae (2011) Photography: History and Theory, Routledge

Frizot, Michel (1998) The New History of Photography, Konemann UK Ltd

Gernsheim, Helmut (1989) The Rise of Photography 1850 – 1880, third edition, Thames & Hudson

Hacking, Juliet & Campany, David (2012) Photography: the Whole Story, Thames & Hudson

Haworth-Booth, Mark (2004) Photography: An Independent Art – Photographs from the V & A, 1839 – 1996, V & A Publications

Jeffrey, Ian (1981) Photography: A Concise History, Thames & Hudson

Jeffrey, Ian (1999) ReVisions: An Alternative History of Photography, National Museum of Photography, Film & Television

Kelsey, Robin & Stimson, Blake (2008) The Meaning of Photography, Yale University Press

Meyerowitz, Joel and Westerbeck, Colin (2017) Bystander: A History of Street Photography, Laurence King Publishing

Mulligan, Therese & Wooters, David (2005) A History of Photography: From 1839 to the Present, Taschen

Parr, Martin & Badger, Gerry (2014) The Photobook: A History Volume 1, 2 & 3, Phaidon Press

Pinney, Christopher (2003) Photography's Other Histories, Duke University Press

Rosenblum, Naomi (2021) A World History of Photography, fifth edition, Abbeville Press

Solomon-Godeau, Abigail (1994) Photography at the Dock: Essays in Photographic History, Institutions and Practices, University of Minnesota Press

Szarkowski, John (1990) Photography Until Now, Museum of Modern Art

Tagg, John (1988) The Burden of Representation: Essays on Photographies and Histories, Palgrave Macmillan

Warner Marien, Mary (2021) Photography: A Cultural History, fifth edition, Laurence King

Warner Marien, Mary (2011) Photography and its Critics: A Cultural History, 1839 – 1900, Cambridge University Press

Home

Bachelard, Gaston, (2014) The Poetics of Space, Penguin Classics

Blunt, Alison & Dowling, Robyn (2006) Home, Routledge

Busch, Akiko (2004) Geography of Home: Writings on Where We Live, Princeton Architectural Press

Cieraad, Irene (2006) At Home: An Anthropology of Domestic Space, Syracuse University Press

Cooper Marcus, Clare (2007) House as a Mirror of Self: Exploring the Deeper Meaning of Home, Hays (Nicolas) Ltd

Harbison, Robert (2000) Eccentric Spaces, MIT Press

Rybczynski, Witold (2987) Home: A Short History of an Idea, Penguin Books

Identity

Baigell, Matthew (2001) Artist and Identity in Twentieth Century America, Cambridge University Press

Barron Stephanie (2000) Made in California: art, image and identity, 1900-2000, University of California Press

Csikszentmihalyi, Mihaly & Halton, Eugene (1981) The Meaning of Things: Domestic Symbols and the Self, Cambridge University Press

Csordas, Thomas J. (1995) Embodiment and Experience: The Existential Ground of Culture and Self, Cambridge University Press

Doy, Gen (2004) Picturing the Self: Changing Views of the Subject in Visual Culture, I. B. Taurus

Green, Eileen and Alison Adam (2001) Virtual Gender: Technology, Consumption and Identity, Routledge

Grosz, Elizabeth (1994) Volatile Bodies: toward a Corporeal Feminism, Indiana University Press

Hall, Donald (2004) Subjectivity (New Critical Idiom), Routledge

Hall, Stuart (2013) Representation: Cultural Representations and Signifying Practices, second edition, Sage

Hall, Stuart & Du Gray, Paul (1996) Questions of Cultural Identity, Sage

Hargreaves, Roger & Hamilton, Peter (2001) The Beautiful and the Damned: the creation of identity in the nineteenth century, Lund Humphries Publishers Ltd.

Hevey, David (1992) The Creatures That Time Forgot, Routledge

hooks, bell (2014) Black Looks: Race and Representation, second edition, Routledge

Jobling, Paul, Marsha Meskimmon ed. (1997) Bodies of Experience: Gender and Identity in Women's Photography Since 1970, Scarlet Press

Keith, Michael & Pile, Steve eds. (1993) Place and the Politics of Identity, Routledge

Kember, Sarah (1998) Virtual Anxiety: Photography, new Technologies and Subjectivity, Manchester University Press

Fanon, Frantz &Philcox, Richard, trans. (2021) Black Skin, White Masks, Penguin Classics

Kershen, Anne J (2019) A Question of Identity, Routledge

Mack, John (1996) Masks: The Art of Expression, British Museum Press

Maxwell, Elizabeth Anne (1999) Colonial Photography and Exhibitions: Representation of the Native and the Making of European Identity, Leicester University Press

McDowell, Linda (1999) Gender, Identity and Place: Understanding Feminist Geographies, Polity Press

Meskimmon, Marsha (1996) Art of Reflection, The: Women Artists' Self-Portraiture in the Twentieth Century, Columbia University Press

Mitchell, Juliet (2003) Siblings, Polity Press

Morley, David (2001) British Cultural Studies: Geography, Nationality, and Identity, Oxford University Press

Mostow, Joshua, Bryson, Norman & Graybill, Maribeth eds. (2003) Gender and Power in the Japanese Visual Field, University of Hawai’i Press

Roberts, John (1993) Renegotiations: Class, Modernity and Photography, Norwich Gallery

Squiers, Carol (2006) The Body at Risk: Photography of Disorder, Illness and Healing, University of California Press

Stallabrass, Julian (2001) Locus Solus: Site, Identity, Technology in Contemporary Art, Black Dog Publishing

Thompson, Barbara (2008) Black Womanhood: Images, Icons, ideologies of the African Body, University of Washington Press

Warner, Marina (2004) Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self, Oxford University Press

Woodall, Joanna ed. (1997) Portraiture: Facing the Subject, Manchester University Press

Woodward, Kath (ed) (2004) Questioning Identity: Gender, Class, Ethnicity, second edition, Routledge

Zahavi, Dan (2008) Subjectivity and Selfhood: Investigating the First-Person Perspective, MIT Press

Identity/Body/Gendered Space

Agrest, Diana et al eds. (1996) The Sex of Architecture, Harry N Abrams

Blunt, Alison & Rose, Gillian (1994) Writing Women and Space: Colonial and Postcolonial Geographies, Guilford Press

Colomina, Beatriz ed. (1996) Sexuality and Space, Princeton Architectural Press

Grosz, Elizabeth (1999) Space, Time and Perversion: Essays on the Politics of Body, Routledge

Grosz, Elizabeth (1995) Becomings, Cornell University Press

Rose, Gillian (1993) Feminism and Geography, Polity Press

Keith, Michael & Pile, Steve eds. (1993) Place and Politics of Identity, Routledge

Nast, Heidi & Pile, Steve eds. (1998) Places Through the Body, Routledge

Pile, Steve (1996) The Body and the City: Psychoanalysis, Space and Subjectivity, Routledge

Individual Artists

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Biesboer, Pieter, Brunner-Bulst, Martina & Gregory, Henry D. (1999) Pieter Claesz 1596/7-1660, second edition, Waanders

Kramer, Felix & Sato, Naoki (2008) Hammershoi, Royal Academy of Arts

Murakami, Ryu & Ito, Toshiharu (1999) Michiko Kon: Still Lifes, Aperture

Wiesberg, Gabriel P. & Talbot, William Silas (1979) Chardin and the Still Life Tradition, Indiana University Press

Landscape and Nature

Castree, Noel (2005) Nature, Routledge

Castree, Noel (2013) Making Sense of Nature, Routledge

Hinchliffe, Steve (2007) Geographies of Nature, Sage

Morton, Timothy (2012) The Ecological Thought, Harvard University Press

Morton, Timothy (2009) Ecology without Nature, Harvard University Press

Soper, Kate (1995) What is Nature? Culture, Politics and the Non-Human, Wiley

Thomas, Keith (1991) Man and the Natural World: Changing Attitudes in England 1500-1800, Penguin

Vogel, Steven (1996) Against Nature: The Concept of Nature in Critical Theory, State University of New York Press

Vogel, Steven (2013) The Life of a Leaf, University of Chicago Press

Whatmore, Sarah (2002) Hybrid Geographies: Natures, Cultures, Spaces, Sage

Landscape (Rural and Urban)

Adams, Steven & Gruetzner-Robins, Anna eds. (2000) Gendering Landscape Art, Manchester University Press

Andrews, Malcolm (1999) Landscape and Western Art, Oxford University Press

Barringer, T et al. Deterritorialisations… Revisioning Landscapes and Politics Black Dog, 2003

Bermingham, Ann (1987) Landscape and Ideology: the English Rustic Tradition 1740-1860, Thames and Hudson

Charlesworth, Michael (2007) Landscape and Vision in Nineteenth-Century Britain and France, Routledge

Copley, Stephen & Garside, Peter eds. (2010) The Politics of the Picturesque: Literature, Landscape and Aesthetics since 1770, Cambridge University Press

Cosgrove, Denis & Daniels, Stephen eds. (1989) The Iconography of Landscape: Essays on the Symbolic Representation, Design and Use of Past Environments, Cambridge University Press

Cosgrove, Denis (2012) Geography and Vision I B Tauris

Cosgrove, Denis (1998) Social Formation and Symbolic Landscape, University of Wisconsin Press

Cresswell, Tim (2014) Place: An Introduction, second edition, Wiley-Blackwell

Daniels, Stephen (1994) Fields of Vision: Landscape Imagery and National Identity in England and the United States, Polity Press

Darby, Wendy Joy (2020) Landscape and Identity: Geographies of Nation and Class in England, Routledge

Gessert, George (2012) Green Light: Toward an Art of Evolution, MIT Press

Gooding, Mel (2002) Song of the Earth: European Artists and the Landscape, Thames and Hudson

Harris, Dianne & Fairchild Ruggles, D. eds. (2007) Sites Unseen: Landscape and Vision University of Pittsburgh Press,

Hoskins, W. G. (2013) The Making of the English Landscape, Little Toller Books

Jaworski, Adam & Thurlow, Crispin eds. (2011) Semiotic Landscapes: Language, Image, Space, Continuum International Publishing Group Ltd

Jurovics, Toby et al (2010) Framing the West: The Survey Photographs of Timothy H. O'Sullivan, Yale University Press

Kemal, Salim & Gaskell, Ivan eds. (1995) Landscape, Natural Beauty and the Arts, Cambridge University Press

Lippard, Lucy R. (2007) The Lure of the Local: Senses of Place in a Multicentered Society, The New Press

Massey, Doreen et al. (1998) City Worlds, Routledge

Mitchell, W. J. T. ed. (2002) Landscape and Power, second edition, Chicago University Press

Primdahl, Jørgen, Swaffield, Simon eds. (2010) Globalisation and Agricultural Landscapes, Cambridge University Press

Schama, Simon (2004) Landscape and Memory, Harper Perennial

Solnit, Rebecca (2017) A Field Guide to Getting Lost, Canongate Books

Solnit, Rebecca (2014) Wanderlust: A History of Walking, Granta

Spier, Steven ed. (2001) Urban Visions: Experiencing and Envisioning the City, Liverpool University Press

Swaffield, Simon (2002) Theory in Landscape Architecture: A Reader, University of Pennsylvania Press

Thompson, Ian H. (2008) Rethinking Landscape: A Critical Reader, Routledge

Warnke, Martin (1994) Political Landscape: The Art History of Nature, Reaktion Books

Wells, Liz et al eds. (2001) Shifting Horizons: Women’s Landscape Photography Now, Routledge

Wells, Liz (2011) Land Matters, I B Taurus

Wylie, John (2007) Landscape, Routledge

Materialities and Embodiment

Abram, David (1997) The Spell of the Sensuous, Vintage Books

Bennett, Jane (2010) Vibrant Matter: A Political Ecology of Things, Duke University Press

Brown, Bill (2004) Things, University of Chicago Press

Bryant, Levi, Srnicek, Nick & Harman, Graham (2011) The Speculative Turn: Continental Materialism and Realism, re.press,

Buchli, Victor (2002) The Material Culture Reader, Berg

Classen, Constance ed. (2005) The Book of Touch, Routledge

Coole, Diana & Frost, Samantha eds. (2010) New Materialisms: Ontology, Agency, and Politics, Duke University Press

Edwards, Elizabeth & Bhaumik, Kaushik eds. (2008) Visual Sense: A Cultural Reader, Routledge

Graves-Brown, Paul (2000) Matter, Materiality and Modern Culture, Routledge

Hicks, Dan and Beaudry, Mary C eds. (2018) The Oxford Handbook of Material Culture Studies, Oxford University Press

Hodder, Ian (2012) Entangled: An Archaeology of the Relationships Between Humans and Things Wiley-Blackwell

Howes, David ed. (2004) Empire of the Senses: The Sensual Culture Reader, Berg

Ingold, Tim (2011) Being Alive: Essays on Movement, Knowledge and Description, Routledge

Ingold, Tim (2013) Making: Anthropology, Archaeology, Art and Architecture, Routledge

Merleau-Ponty, Maurice (2013) Phenomenology of Perception, Routledge

Miller, Daniel ed. (2005) Materiality, Duke University Press

Miller, Daniel (2009) Stuff, Polity Press

Montagu, Ashley (2018) Touching: the Human Significance of Skin, third edition, Avon

Paterson, Mark (2007) The Senses of Touch: Haptics, Affects and Technologies, Routledge

Pinney, Christopher (2011) Photography and Anthropology, Reaktion Books

Rose, Gillian and Tolia-Kelly, Divya eds. (2016) Visuality/Materiality: Images, Objects and Practices, Routledge

Schwenger, Peter (2006) The Tears of Things: Melancholy Objects, University of Minnesota Press

Serres, Michel (2016) The Five Senses: A Philosophy of Mingled Bodies, Bloomsbury Academic

Sewall, Laura (2000) Sight and Sensibility: the Ecopsychology of Perception, Tarcher/Putnam

Tilley, Christopher et al eds. (2013) Handbook of Material Culture, Sage

Turkle, Sherry (2011) Evocative Objects: Things We Think With, MIT Press

Memory

Batchen, Geoffrey (2006) Forget me Not: Photography and Remembrance, Princeton Architectural Press

Ben-Amos, Dan & Weissberg, Liliane eds. (1999) Cultural Memory and the Construction of Identity, Wayne State University Press

Eber, Dena E. & Neal, Arthur G.  (2006) Memory and Representation: Constructed Truths and Competing Realities, University of Wisconsin Press

Ekman, Ulrik & Tygstrup, Frederik (2008) Witness: Memory, Representation and the Media in Question, Museum Tusculanum Press

Farr, Ian (2012) Memory (Documents of Contemporary Art), Whitechapel Gallery

Foster, Jonathan K (2008) Memory: A Very Short Introduction, Oxford University Press

Gibbons, Joan (2009) Contemporary Art and Memory: Images of Recollection and Remembrance, I B Tauris

Guerin, Frances & Hallas, Roger (2007) The Image and the Witness: Trauma, Memory and Visual Culture, I B Tauris

Huyssen, Andreas (2003) Present Pasts: Urban Palimpsests and the Politics of Memory (Cultural Memory in the Present), Stanford University Press

Huyssen, Andreas (1995) Twilight Memories: Marking Time in a Culture of Amnesia, Routledge

King, Nicola (2000) Memory, Narrative, Identity: Remembering the Self, Edinburgh University Press

Langford, Martha (2012) Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art, McGill – Queen’s University Press

Mollon, Phil (2000) Freud and False Memory Syndrome (Postmodern Encounters), Icon Books Ltd.

Ricoeur, Paul (2006) Memory, History, Forgetting, Chicago University Press

Rose, Gillian (1996) Mourning Becomes the Law: Philosophy and Representation, Cambridge University Press

Rossington, Michael & Whitehead, Anne (2007) Theories of Memory: A Reader, Edinburgh University Press

Saltzman, Lisa (2006) Making Memory Matter: Strategies of Remembrance in Contemporary Art, University of Chicago Press

Sutton, Damian (2009) Photography, Cinema, Memory: The Crystal Image of Time, University Minnesota Press

Nineteenth Century Photography

Hambourg Maria Morris (2000) The Waking Dream: Photography's First Century, Metropolitan Museum of Art

Hannavy, John ed. (2007) Encyclopedia of Nineteenth-Century Photography, Routledge

Mavor, Carol (2021) Pleasures Taken: Performances of Sexuality and Loss in Victorian Photographs, Routledge

Watson, Roger & Rappaport, Helen (2013) Capturing the Light: The Birth of Photography, Macmillan

Photography

Lister, Martin, ed. (2013) The Photographic Image in Digital Culture, second edition, Routledge

Mitchell, W J (1994) The Reconfigured Eye: Visual Truth in the Post-photographic Era, MIT Press

von Amelunxen, Hubertus (1997) Photography after Photography: Memory and Representation in the Digital Age, G&B Arts International

Ritchin, Fred (2008) After Photography W. W. Norton & Co.

Photography as Art

Bright, Susan (2011) Art Photography Now, second edition, Thames & Hudson

Cotton, Charlotte (2014) The Photograph as Contemporary Art, third edition, Thames & Hudson

Grosenick, Uta & Seelig, Thomas (2008) Photo Art: The New World of Photography, Thames & Hudson

Kingsley, Hope (2012) Seduced by Art: Photography Past and Present, National Gallery

Weaver, M. (1989) The Art of Photography 1839 – 1989, Yale University Press

Photography and Science

Batchen, Geoffrey (1999) Burning with Desire: the Conception of Photography, MIT Press

Benjamin, Walter (2008) The Work of Art in the Age of Mechanical Reproduction, Penguin

Berger, John (2008) Ways of Seeing, Penguin

Cheroux, Clement, et al. (2005) The Perfect Medium: Photography and the Occult, Yale University Press

Harvey, John (2007) Photography and Spirit, Reaktion Books

Keller, Corey (2008) Brought to Light: Photography and the Invisible, 1840 – 1900, Yale University Press

Ryan, James R. (2013) Photography and Exploration, Reaktion Books

Sobieszek, Robert (1999) Ghost in the Shell: Photography and the Human Soul, 1850 – 2000, MIT Press

Thomas, Ann (1997) Beauty of Another Order: Photography in Science, Yale University Press

Tucker, Jennifer (2013) Nature Exposed: Photography as Eyewitness in Victorian Science, John Hopkins University Press

Warner Marien, Mary (2021) Photography: A Cultural History, fifth edition, Laurence King

Warner, Marina (2008) Phantasmagoria: Spirit Visions, Metaphors and Media into the Twenty-First Century, Oxford University Press

Wilder, Kelley (2008) Photography and Science, Reaktion Books

Photography Critical Theory/Visual Culture

Arnheim, Rudolf (2009) The Power of the Center, anniversary edition, University of California Press

Barrett, Terry (2021) Criticizing Photographs: An Introduction to Understanding Images, 6th edition, Routledge

Barthes, Roland (1993) Camera Lucida: Reflections on Photography, Vintage

Batchen, Geoffrey (1997) Burning with Desire, MIT Press

Belsey, Catherine (2004) Culture and the Real, (New Accents) Routledge

Belsey, Catherine (2002) Poststructuralism: A Very Short Introduction, Oxford University Press

Brittain, David ed. (2000) “Creative Camera”: Thirty Years of Writing, Manchester University Press

Burgin, Victor (1982) Thinking Photography, Palgrave Macmillan

Campany, David ed (2012) Art and Photography, Phaidon Press

Crary, Jonathan (1992) Techniques of the Observer: on Vision and Modernity in the Nineteenth Century, MIT Press

Deleuze, Gilles & Guattari, Felix (1988) A Thousand Plateaus: Capitalism and Schizophrenia, The Athlone Press

Elkins, James ed. (2007) Photography Theory, Routledge

Evans, Jessica & Hall, Stuart (1999) Visual Culture: the Reader, Sage

Hall, Stuart (2013) Representation: Cultural Representations and Signifying Practices, second edition, Sage

Jay, Martin (1993) Downcast Eyes: The Denigration of Vision in Twentieth Century French Thought, University of California Press

Mirzoeff, Nicholas ed. (2012) The Visual Culture Reader, third edition, Routledge

Scharf, Aaron (1990) Art and Photography, second edition, Penguin

Silverman, Kaja (1995) The Threshold of the Visible World, Routledge

Solomon-Godeau, Abigail (1994) Photography at the Dock, University of Minnesota Press

Sontag, Susan (2008) On Photography, Penguin

Squiers, Carol (1990) The Critical Image, Bay Press

Trachtenberg, Alan, ed. (1980) Classic Essays on Photography, Leete’s Island Books

Warner, Marina (2008) Phantasmagoria: Spirit Visions, Metaphors, and Media, Oxford University Press

Wells, Liz (2021) Photography: A Critical Introduction, sixth edition, Routledge

Wells, Liz, ed (2018) The Photography Reader: History and Theory, second edition, Routledge

Wells, Liz, ed (2018) The Photography Cultures Reader: Representation, Agency and Identity, Routledge

Virilio, Paul (2009) The Aesthetics of Disappearance, second edition, Semiotext(e)

Portraiture

Angier, Roswell (2015) Train Your Gaze: A Practical and Theoretical Introduction to Portrait Photography, 2nd Edition, Fairchild Books

Durden, Mark & Richardson, Craig, eds. (2001) Face On: Photography as Social Exchange, Black Dog Publishing

Ewing, William A. (2006) Face: The New Photographic Portrait, Thames and Hudson

Kemp, Cornelia & Suzanne Witzgall eds. (2002) The Other Face: Metamorphoses of the Photographic Portrait, Prestel Verlag

Grecco, Michael (2000) The Art of Portrait Photography: Creative Lighting Techniques and Strategies, Amherst Media

Mann, Nicholas and Syson, Luke eds. (1998) The Image of the Individual: Portraits in the Renaissance, British Museum Press

Rideal, Liz (2006) Self-Portraits, National Portrait Gallery Publications

Soussloff, Catherine M. (2006) The Subject in Art: Portraiture and the Birth of the Modern, Duke University Press

Woodall, Joanna ed. (1997) Portraiture: Facing the Subject, Manchester University Press

Psychoanalysis

Bettelheim, Bruno (1984) Freud and Man's Soul, Vintage Books

Grosz, Elizabeth (1990) Jacques Lacan: A Feminist Introduction, Routledge

Kristeva, Julia & Ross Guberman (2004) Melanie Klein, Columbia University Press

Lacan, Jacques (2018) The Four Fundamental Concepts of Psycho-Analysis, Routledge

Mitchell, Juliet & Sanjay K Mishra (2000) Psychoanalysis and Feminism: A Radical Reassessment of Freudian Psychoanalysis, Basic Books

Rose, Jacqueline (2020) Sexuality in the Field of Vision, Second Edition, Verso

Turkle, Sherry (1992) Psychoanalytic Politics: Jacques Lacan and Freud's French Revolution, Guilford Publications

Wright, Elizabeth (2013) Psychoanalytic Criticism: A Reappraisal, Routledge

Psychological Space

Coverley, Merlin (2018) Psychogeography, second edition, Oldcastle Books

Vidler, Anthony (1994) The Architectural Uncanny: Essays in the Modern Unhomely, MIT Press

Reading Photographs

Fox, Anna & Caruana, Natasha (2020) Research In Photography: Behind the Image, AVA Publishing

Jeffrey, Ian (2009) How to Read a Photograph: Understanding, Interpreting and Enjoying the Great Photographers, Thames & Hudson

Mitchell, W. J. T. (1995) Picture Theory: Essays on Verbal and Visual Representation, University of Chicago Press

Rose, Gillian (2016) Visual Methodologies: An Introduction to Researching Visual Materials, fourth edition, Sage

Shore, Stephen (2010) The Nature of Photographs: A Primer, Phaidon Press

Short, Maria (2011) Basics Creative Photography 02: Context and Narrative, AVA Publishing

Space & Place

Bachelard, Gaston (2014) The Poetics of Space, Penguin

Burgin, Victor (1996) In/Different Spaces: Place and Memory in Visual Culture, University of California Press

Eisenman, Peter & Grosz, Elizabeth (2001) Architecture from the Outside: Essays on Virtual and Real Space (Writing Architecture), MIT Press

Pile, Steve (2005) Real Cities: Modernity, Space and the Phantasmagorias of City Life, Sage

Still Life

Alpers, Svetlana (1984) The Art of Describing: Dutch Art in the Seventeenth Century, University of Chicago Press

Canadian Museum of Contemporary Photography(1992) Anima Mundi: Still Life in Britain, University of Chicago Press

Bann, Stephen (1989) The True Vine: Visual Representation and Western Tradition, Cambridge University Press

Bate, David (2003) Photography and Surrealism: Sexuality, Colonialism and Social Dissent, Routledge

Berger, Harry (2011) Caterpillage: Reflections on Seventeenth-Century Dutch Still Life Painting, Fordham University Press

Berger Hochstrasser, Julie (2007) Still Life and Trade in the Dutch Golden Age, Yale University Press

Berger, John & Richon, Olivier eds. (1989) Other Than Itself: Writing Photography, Aperture

Bergstrom, Ingvar (1983) Dutch Still Life Painting in the Seventeenth Century, Hacker Art Books

Bryson, Norman (1990) Looking at the Overlooked: Four Essays on Still Life Painting, Reaktion Books

Cathcart, L.L. (1984) American Still Life 1945-1983, Joanna Cotler Books

Davenport, Guy (1999) Objects on a Table: Harmonious Disarray in Art and Literature, Counterpoint

Grootenboer, Hanneke (2006) The Rhetoric of Perspective: Realism and Illusionism in Seventeenth-Century Dutch Still Life Painting, University of Chicago Press

Herbert, Zbigniew (1993) Still Life with a Bridle: Essays and Apocryphas, Eco Press

Impelluso, Lucia (2006) Nature and Its Symbols, Getty Publications

Jordan, William B & Cherry, Peter (1995) Spanish Still Life: From Velazquez to Goya, National Gallery Company

Lowenthal, Anne W (1996) Object as Subject: Studies in the Interpretation of Still Life, Princeton University Press

Martineau, Paul (2010) Still Life in Photography, J. Paul Getty Museum

Newton, Kate & Rolph, Christine eds. (2005) Stilled: Contemporary Still Life Photography by Women Ffotogallery

Rowell, Margit (1997) Objects of Desire: The Modern Still Life, Museum of Modern Art

Schama, Simon (2004) Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age, Fontana Press

Schneider, Norbert (2003) Still Life, Taschen GmBH

Stokes Sims, Lowery & Rewald, Sabine (1996) Still Life: The Object in American Art 1915-95 catalogue, Rizzoli International Publications

Taylor, Paul (1996) Dutch Flower Painting, Yale University Press

Weiermair, Peter ed. (1999) The Measure of All Things: On the Relationship between Photography and Objects, Edition Stemmle

Surrealism

Adamowicz, Elza (2008) Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse, Cambridge University Press

Bouqueret, Christian (2008) Surrealist Photography, Thames & Hudson

Caws, Mary Ann (1999) The Surrealist Look: an Erotics of Encounter, MIT Press

Chadwick, Whitney (2021) Women artists and the Surrealist Movement, reprint editon, Thames and Hudson

Finkelstein, Haim (2016) The Screen in Surrealist Art and Thought, Routledge

Foster, Hal (1995) Compulsive Beauty, MIT Press

Highmore, Ben (2001) Everyday Life and Cultural Theory, Routledge

Krauss, Rosalind E, Livingston, Jane & Ades, Dawn (1985) Amour Fou: Photography and Surrealism, Abbeville Press Inc.,U.S.,

Lusty, Natalya (2016) Surrealism, Feminism, Psychoanalysis, Routledge

Mahon, Alyce & Foster, Hal (2001) Surrealism: Desire Unbound, Tate Publishing

Prodger, Phillip, Hartigan, Lynda Roscoe; Penrose, Antony (2011) Man Ray/Lee Miller: Partners in Surrealism, Merrell

Roegiers, Patrick (2005) Magritte and Photography, Lund Humphries

Walker, Ian (2007) So Exotic, So Homemade: Surrealism, Englishness and Documentary Photograph, Manchester University Press

Truth

Lowry, Joanna, Green, David & Baetens, Jan (2009) Theatres of the Real, Photoworks

Nochlin, Linda (1991) Realism (Style and Civilization), Penguin Books

Urban Space/The City

Calvino, Italo (1997) Invisible Cities, Vintage

Davis, Mike (2021) City of Quartz: Excavating the Future in Los Angeles, reprint edition, Verso Books

Hubbard, Phil (2017) City, second edition, Routledge

Lefebvre, Henri (2010) Writings on Cities, Wiley-Blackwell

Massey, Doreen, John, Allen & Pile, Steve (1998) City Worlds (Understanding Cities), Routledge

Mitchell, William J (1996) City of Bits: Space, Place & the Infobahn, MIT Press

Pile, Steve (2000) City A-Z: Urban Fragments, Routledge

Pile, Steve (2005) Real Cities: Modernity, Space and the Phantasmagorias of City Life, Sage

Pile, Steve (1996) The Body and the City, Routledge

Vision

Shapiro, Gary (2003) Archaeologies of Vision: Foucault and Nietzsche on Seeing and Saying, University of Chicago Press

Visual Analysis

Bal, Mieke & Bryson, Norman (2001) Looking In: The Art of Viewing, Routledge

Berger, John (2008) Ways of Seeing, Penguin Modern Classics

Buck-Morss, Susan (1989) The Dialectics of Seeing: Walter Benjamin and the Arcades Project, MIT Press

Rose, Gillian (2000) Visual Methodologies: An Introduction to Interpreting Visual Objects, Sage Publications

Stafford, Barbara Maria (1996) Good Looking: Essays on the Virtue of Images, MIT Press

Stafford, Barbara Maria (2001) Visual Analogy: Consciousness as the Art of Connecting, The MIT Press

Sturken, Maria & Cartwright, Lisa (2009) Practices of Looking, second edition, Oxford University Press

Vision and Space

Burgin, Victor (2000) Shadowed, Architectural Association Publications

Damisch, Hubert (1995) The Origin of Perspective, MIT Press

White, John (1989) The Birth & Rebirth of Pictorial Space, Faber & Faber