The Contest of Meaning - (Mit Press) by Richard Bolton (Paperback)
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<p/><br></br><p><b> About the Book </b></p></br></br>Originally published in hardcover in 1989.<p/><br></br><p><b> Book Synopsis </b></p></br></br>Photography's great success gives the impression that the major questions that have haunted the medium are now resolved. On the contrary, the most important questions about photography are just beginning to be asked. These fourteen essays, with over 200 illustrations, critically examine prevailing beliefs about the medium and suggest new ways to explain the history of photography. They are organized around the questions: What are the social consequences of aesthetic practice? How does photography construct sexual difference? How is photography used to promote class and national interests? What are the politics of photographic truth? <i>The Contest of Meaning</i> summarizes the challenges to traditional photographic history that have developed in the last decade out of a consciously political critique of photographic production. Contributions by a wide range of important Americans critics reexamine the complex--and often contradictory--roles of photography within society. Douglas Crimp, Christopher Phillips, Benjamin Buchloh, and Abigail Solomon Godeau examine the gradually developed exclusivity of art photography and describe the politics of canon formation throughout modernism. Catherine Lord, Deborah Bright, Sally Stein, and Jan Zita Grover examine the ways in which the female is configured as a subject, and explain how sexual difference is constructed across various registers of photographic representation. Carol Squiers, Esther Parada, and Richard Bolton clarify the ways in which photography serves as a form of mass communication, demonstrating in particular how photographic production is affected by the interests of the powerful patrons of communications. The three concluding essays, by Rosalind Krauss, Martha Rosler, and Allan Sekula, critically examine the concept of photographic truth by exploring the intentions informing various uses of objective images within society.<p/><br></br><p><b> From the Back Cover </b></p></br></br>Photography's great success gives us the impression that the major questions that have haunted the medium are now resolved. These 14 essays, with over 200 illustrations, critically examine and challenge the prevailing formalist values of late modernism that have been applied to the medium and suggest new ways to explain the history of photography.<p/><br></br><p><b> Review Quotes </b></p></br></br><br>"Eminently readable, the critical essays collected here interrogate our limited understanding of so called art photography, by unmasking the ideological and political realities that have shaped both its production and interpretation." --Anthony Aziz, SF Camerawork<br><br>" Eminently readable, the critical essays collected here interrogate our limited understanding of so called art photography, by unmasking the ideological and political realities that have shaped both its production and interpretation." -- Anthony Aziz, SF Camerawork<br><br>" Eminently readable, the critical essays collected here interrogate our limited understanding of so called art photography, by unmasking the ideological and political realities that have shaped both its production and interpretation." -- Anthony Aziz, SF Camerawork<br><p/><br></br><p><b> About the Author </b></p></br></br><p>George R. Mangun is a Professor in the Department of Psychology at the University of California, Davis. </p>
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