AH 331 Primary Sources
Date | Author | Title |
1839 | Joseph Nicephore Niepce | Memoire on the Heliograph |
William Henry Fox Talbot | Some Account of the Art of Photogenic Drawing | |
Louis Jacques Mande Daguerre | Daguerreotype | |
Dominique Francois Arago | Report in History of Photography by Josef Maria Elder | |
1840 | Edgar Alan Poe | The Daguerreotype |
1844 | William Henry Fox Talbot | A Brief Historical Sketch of the Invention of the Art |
1855 | Lewis Carroll | Photography Extraordinary |
1857 | Lady Elizabeth Eastlake | Photography |
1859 | Sir Oliver Wendell Holmes | The Stereoscope and the Stereograph |
1862 | Charles Baudelaire | The Modern Public and Photography |
1863 | Oscar Rejlander | An Opology for Art-Photography |
1874 | Julia Margaret Cameron | Annals of My Glass House |
1890 | Jacob Riis | How the Other Half Lives |
Lewis Hine | Social Photography | |
1896 | Henry Beach Robinson | Idealism, Realism, Expressionism |
1897 | Joseph Pennell | Is Photography Among the Fine Arts? |
1899 | Alfred Stieglitz | Pictorial Photography |
1900 | Sigmund Freud | The Interpretation of Dreams |
Nadar | My Life as a Photographer | |
1908 | Anonymous | Is Photography A New Art? in Camera Work |
1922 | Paul Strand | Photography and the New God |
1923 - 30 | Edward Weston | Daybooks |
1925 | Adolf Hitler | Mien Kampf |
1927 | Friedrich Nietzsche | The Birth of Tragedy Out of the Spirit of Music |
Laszlo Moholy Nagy | Photography | |
Walker Evans | The Reappearance of Photography | |
1930 | Walter Benjamin | The Work of Art in the Age of Mechanical Reproduction |
1933 | Brassai | Paris de Nuit |
1935 | Martin Heidegger | The Origin of the Work of Art |
Laszlo Moholy-Nagy | From Pigment to Light | |
1940 | Clement Greenberg | Avant Garde and Kitsch |
Towards a New Laocoon | ||
Walter Benjamin | The Arcades Project | |
1945 | Maurice Merleau-Ponty | Phenomenology of Perception |
1946 | Jean-Paul Sartre | Existentialism Is a Humanism |
1950 | Jean Genet | Un Chant D'Amour |
1951 | Berenice Abbott | Photography at the Crossroads |
1952 | Henri Cartier Bresson | The Decisive Moment |
1955 | Edward Steichen | The Family of Man |
Robert Frank | The Americans | |
1957 | Roland Barthes | Mythologies |
1958 | Allan Kaprow | The Legacy of Jackson Pollock |
Robert Frank | Statement | |
1961 | Clement Greenberg | Modernist Painting |
Susan Sontag | Against Interpretation | |
1962 | Claude Levi-Strauss | The Savage Mind |
1964 | Beaumont Newhall | The History of Photography |
Susan Sontag | Notes on Camp | |
Berenice Abbot | The World of Atget | |
Antonin Artaud | The Theatere and its Double | |
1965 | Bob Dylan | Subterranean Homesick Blues |
Edward Weston | Seeing Photographically | |
1966 | John Szarkowski | The Photographer's Eye |
Nathan Lyons | Photographers on Photography | |
1967 | Roland Barthes | The Death of the Author |
Michael Fried | Art and Objecthood | |
Marshall McLuhan | The Medium is the Massage (Message) | |
Guy Debord | The Society of the Spectacle | |
Roland Barthes | Elements of Semiology | |
1968 | Roland Barthes | The Death of the Author |
1969 | Aaron Scharf | Art and Photography |
1975 | Allan Sekula | On the Invention of Photographic Meaning |
1977 | Roland Barthes | Rhetoric of the Image |
Susan Sontag | America Seen Through Photographs Darkly | |
1969 | Joseph Kosuth | Art After Philosophy |
Michael Foucault | What is an Author? | |
1971 | Linda Nochlin | Why Have There Been No Great Women Artists |
John Berger | Ways of Seeing | |
1973 | Laura Mulvey | Visual Pleasure and Narrative Cinema |
Lucy Lippard | Six Years: The Dematerialization of the Art Object | |
1974 | John Berger | Understanding a Photograph |
Larry Clark | Tulsa | |
1974 | Juliet Mitchell | Psychoanalyses and Feminism |
Peter Burger | The Theory of the Avant Garde | |
1976 | Umberto Eco | A Theory of Semiotics |
1977 | Charles Jencks | The Language of Post-Modern Architecture |
Susan Sontag | On Photography | |
Illness as Metaphor | ||
Walther Benjamin | A Short History of Photography | |
Jean-Francois Lyotard | Trans/ Formers | |
1979 | Jean-Francois Lyotard | The Postmodern Condition |
Mary Kelly | Post Partum Document | |
Douglas Crimp | Pictures | |
Germaine Greer | The Obstacle Race | |
1980 | Roland Barthes | Camera Lucida |
Douglas Crimp | The Photographic Activity of Postmodernism | |
Umberto Eco | The Name of the Rose | |
Julia Kristeva | Powers of Horror: An Essay on Abjection | |
Alan Trachtenberg | Classic Essays on Photography | |
Carig Owens | The Allegorical Impulse | |
1981 | Benjamin Buchloh | Figures of Authority, Ciphers of Regression |
Vicki Goldberg | Photography in Print: Writings from 1816 to the Present | |
Douglas Crimp | The End of Painting | |
On the Museum's Ruins | ||
1984 | Frederic Jameson | Postmodernism, or the Cultural Logic of Late Capitalism |
1985 | Richard Avedon | In the American West |
1986 | Allan Sekula | The Body and the Archive |
1990 | Anna Chave | Minimalism and the Rhetoric of Power |
1992 | Arthur Danto | Modern, Postmodern and Contemporary |
1999 | Andy Grundberg | Crisis of the Real: Writings on Photography Since 1974 |
Therese Lichtenstein | Games of the Doll | |
2001 | Philip Steadman | Vermeer's Camera |
David Hockney | Secret Knowledge and Discussion of the book/ theory | |
2005 | David Levi Strauss | The Highest Degree of Illusion |
2011 | Alan Kirby | The Death of Postmodernism |
2014 | Rob Brown | The Photographer Who Rejected Racism in the South |
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