This edited collection explores the complex ways in which photography is used and interpreted: as a record of evidence, as a form of communication, as a means of social and political provocation, as a mode of surveillance, as a narrative of the self, and as an art form. What makes photographic images unsettling and how do the re-uses and interpretations of photographic images unsettle the self-evident reality of the visual field? Taking up these themes, this book examines the role of photography as a revelatory medium underscored by its complex association with history, memory, experience and identity.

Table of Contents

Introduction, (Natalya Lusty and Donna West Brett); 1. Ontology or Metaphor? (Andrés Mario Zervigón); 2. Unsettling the Archive: The Stasi, Photography and Escape from the GDR; (Donna West Brett); 3. Dark Archive: The Afterlife of Forensic Photographs (Katherine Biber); 4. Hard Looks: Faces, Bodies, Lives in Early Sydney Police Portrait Photography (Peter Doyle) 5. Anticipatory Photographs: Sarah Pickering and An-My Lê (Shawn Michelle Smith); 6. Eli Lotar’s Para-urban Visions (Natalya Lusty); 7. The Presence of Video: Making the Displaced and Disappeared Self Visible (John Di Stefano); 8. Contemplating Life: Rinko Kawauchi’s Autobiography of Seeing (Jane Simon); 9. Suspending Productive Time: some photographs by Gabriel Orozco and Jacques Rancière’s thinking of modern aesthetics (Toni Ross); 10. Photography as Indexical Data: Hans Eijkelboom and Pattern Recognition Algorithms (Daniel Palmer); 11. Afterword: Photography Against Ontology (Blake Stimson).

Editors: Donna West Brett and Natalya Lusty (Routledge, 2018) Available to order from: Routledge

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