The eternal moment: essays on the photographic image
Estelle Jussim is one of the most highly regarded and influential voices in photography and other media. Award-winning author of Slave to Beauty and the pioneering Visual Communication and the Graphic Arts, Jussim has charted new ground in the investigation of the meaning of images. This volume is the first compilation of her work.
Estelle Jussim writes, unconventionally, on the social impact of photography, refusing to subscribe to any narrow critical ideology. An art historian and a communications theorist, she incorporates postmodern, deconstructionist, and feminist viewpoints in her assessments of various photographers, movements, and institutions. Wide-ranging in interest, Jussim's writing is remarkably bold and controversial.
Divided into three sections-- "Visual Communication," "Genres," and "Bio-History"-- The Eternal Moment includes essays that assess how aspects of the medium such as early wood-engraving or the role of the museum affect communication in a visual culture; survey various photographic subjects such as the nude, the landscape, and the ethnocentric icon; and reveal the work of some of the greatest practitioners of the medium.
In "Visual Communication" Jussim explores the interplay between technology and aesthetics in photography, and probes the unique, powerful relationship of photographs to time. The essay "Quintessences: Edward Weston's Search for Meaning," examines the discrepancies between that artist's pronouncements and his photographs.
Included in "Genres" is "Propaganda and Persuasion," in which Jussim offers astute observations on how meaning is produced, transmitted, and interpreted . In "Looking at Literati" she focuses on Jill Krementz's ability to capture the spark of personality in her portraits of writers. "Starr Ockenga's Nudes" is an insightful analysis of the ways in which that photographer's work has personalized the traditionally formal, impersonal genre of the nude.
In "Bio-History" Jussim's explorations of the lives of such important photographers as Barbara Crane, Carl Chiarenza, and F. Holland Day are models of their kind; her long essay on Jerome Liebling reveals a deep empathy for his essential mysticism and humanism.
"Whether we know it or not, whether we like it or not, we have been attending the funeral rites of modernism for many decades."--Estelle Jussim from The Self-Reflexive Camera
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The SelfReflexive Camera
Fox Talbot and the Invention
Alfred Stieglitz and Photogravure
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abstract aesthetic Alfred Stieglitz American Arbus artist Barbara Crane Bauhaus Beaumont Newhall beautiful believed Boris Boston called camera Carl Cartier-Bresson century Chiarenza Chicago color communication created critics culture daughter Diane Arbus documentary Edward Weston emotion Estelle Jussim exhibition experience fact film George Eastman House graphic halftone Hine history of photography human Ibid idea ideal ideology images imagine individual Jerome Liebling John Szarkowski kind Kingsley landscape Lewis Hine Liebling light living look MacWeeney Manya means medium ment Minor White modern mother Museum mystery naked nature Newhall nude Ockenga original painters painting Paul Strand perhaps Peter Henry Emerson photogra photographs photogravure pictorialist Polaroid political portrait pose prints propaganda published reality recognize relationship reproductions seems sense simply Siskind snapshot social studio Szarkowski Talbot texture things tion transformed viewer visual wanted White women wood engraving words York
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