Academic literature on the topic 'N Visual arts (General) For photography'
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Journal articles on the topic "N Visual arts (General) For photography"
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Kotyukova, Tatiana. "“Other Turkestan” by Senator Konstantin Palen and engineer Nikolay Shchapov." ISTORIYA 12, no. 6 (104) (2021): 0. http://dx.doi.org/10.18254/s207987840016261-6.
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This article is devoted to two practically unknown photo collections that visualize Turkestan at the beginning of the twentieth century. The first, stored in the Russian State Historical Archive (RGIA) and consisting of 4 photo albums, was collected during the Senate audit of the Turkestan Territory under the leadership of Count K. K. Palen in 1908—1909. The second collection of photographs, shot in 1911—1913 in Turkestan, is part of a large and diverse personal photo collection of hydrologist engineer N. M. Shchapov, stored in the Central State Archive of Moscow, the Center for the Storage of Electronic and Audiovisual Documents (TsGAM TsKHEAVD). Photocollections of the Senate audit (under the leadership of K. K. Palen) and hydro engineer N. M. Schapov, in our opinion, can be considered a visualization of modernization in Turkestan and a manifestation at the general imperial level of the appearance of another, industrial, Turkestan.
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Zakia, Richard D. "Photography and Visual Perception." Journal of Aesthetic Education 27, no. 4 (1993): 67. http://dx.doi.org/10.2307/3333501.
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Ellenbogen, Josh, and Adam Jolles. "Visual Literacy and 1960s Photography." Critical Inquiry 47, no. 3 (2021): 565–91. http://dx.doi.org/10.1086/713549.
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Hamilton, Donald G. "Australian doctors and the visual arts: Part 6. Photography." Medical Journal of Australia 145, no. 11-12 (1986): 640–43. http://dx.doi.org/10.5694/j.1326-5377.1986.tb139520.x.
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Lehmuskallio, Asko, Jukka Hӓkkinen, and Janne Seppӓnen. "Photorealistic computer-generated images are difficult to distinguish from digital photographs: a case study with professional photographers and photo-editors." Visual Communication 18, no. 4 (2018): 427–51. http://dx.doi.org/10.1177/1470357218759809.
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There are strict guidelines on photoediting in newsrooms and serious professional repercussions for any failure to adhere to them, while computer-generated imagery is increasingly used in other areas of visual communication. This article presents empirical research on the ability of professional photographers and editors to distinguish photographs from photorealistic computer-generated images by looking at them on a screen. The results show clearly that those studied ( N = 20) are unable to distinguish one from another, suggesting that it is increasingly difficult to make this distinction, particularly since most viewers are not as experienced in photography as those studied. Interestingly, the participants continue to share a conventional understanding of photography that is not in line with current developments in digital photography and digital image rendering. Based on their findings, the authors suggest there is a need for developing a particular visual literacy that understands the computational in digital photography and grounds the use of digital photography among particular communities of practice. When seeing photographs on screens, journals, exhibitions, or newspapers, viewers might actually be looking at computer-generated simulations, and vice versa.
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Donnelly, S., T. Kroll, H. Mannan, C. DIX, and A. G. Wilson. "PARE0033 I’M HERE BUT I’M NOT: A PHOTOVOICE STUDY OF THE LIVED EXPERIENCE OF SELF-MANAGING RHEUMATOID ARTHRITIS." Annals of the Rheumatic Diseases 79, Suppl 1 (2020): 1302.1–1303. http://dx.doi.org/10.1136/annrheumdis-2020-eular.4198.
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Background:Rheumatoid arthritis (RA) is a widespread chronic disease affecting about 1% of the population in the West. It is characterised by pain, fatigue and inflammation that can flare-up without warning. This makes the condition difficult to predict and manage. Bury (1982) introduced the concept of chronic illness as a disruptive experience to one’s self-identity. This is often an invisible part of managing the illness and taken for granted by others, such as family members, friends and health care professionals. Thus, there is a need to raise awareness of the patients’ lived experiences of self-managing this long-term chronic illness.Objectives:We aimed to collaborate with people with RA to (i) record and reflect the community’s strengths and concerns; (ii) raise awareness of the lived experience of self-managing RA (iii) spark a dialogue among key stakeholders around the self-management of RA.Methods:A purposeful sample of people with RA (n=12) was recruited. An innovative qualitative methodology, Photovoice, was used (Wang & Burris, 1997). A series of small group workshops took place. Participants were provided with cameras and appropriate training. They were asked to take photographs of the“challenges and solutions to living with RA” over approximately two weeks. Semi-structured interviews were conducted incorporating photo elicitation. As a group, the participants, a visual artist and researcher co-created a photo exhibition for the public.Results:Participants selected 32 photographs for the exhibition. They carried out a thematic analysis of the photos identifying four themes:•I’m Here but I’m Not– this theme reflected feelings of alienation and social isolation.•Medicine in all its forms –this theme captured attitudes towards medication and devices, as well as the creative ways people coped with RA.•Visible illness– this concerned the recognition of RA. It captures the experience of RA as a “contested illness” and the challenge of gaining medical and cultural legitimacy.•Mind yourself –this theme highlighted the value of self-care, often closely connected with the natural world and engagement with social activities.Exhibitions were held at a community arts centre and a large central hospital in Dublin city. A plain language report was also collaboratively produced.Conclusion:This study shows how participatory methods can be used to explore the hidden experience of living with an invisible illness. This research design enabled participants to use photographs to reflect on their experiences and the meaning they intended to convey, thereby increasing trustworthiness of the findings through individual and group member checking. This approach extends beyond traditional written and verbal responses to share the worldview of participants. It demonstrates how to work with patients to create opportunities to improve awareness and spark dialogue among those who play a role in supporting the self-management of chronic illness. The integration of creative arts and participatory methods can have a positive impact for those involved in research and can enhance public engagement with research.References:[1]Bury, Michael (1982) Chronic Illness as Biographical Disruption. Sociology of Health & Illness. 4. 167-82.[2]Wang, C., & Burris, M. A. (1997). Photovoice: Concept, Methodology, and Use for Participatory Needs Assessment.Health Education & Behavior,24(3), 369–387.Acknowledgments:Funding is awarded from the UCD Wellcome Trust Institutional Strategic Support Fund as part of a Medical Humanities and Social Science Collaboration Scheme (ref 204844/Z/16/Z).As part of a Patient and Public Involvement (PPI) strand, a Research Advisory Group composed of people living with RA was supported the design and execution of this project.Disclosure of Interests:None declared
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ENGEL, ELISABETH. "Southern Looks? A History of African American Missionary Photography of Africa, 1890s–1930s." Journal of American Studies 52, no. 2 (2018): 390–417. http://dx.doi.org/10.1017/s002187581700192x.
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This article traces and analyzes the missionary photography of the African Methodist Episcopal Church (AME), the most important independent black American institution that began to operate in colonial South Africa at the onset of the politics of racial segregation in the 1890s. It argues that AME missionary photography presents a neglected archive, from which a history of black photographic encounters and a subaltern perspective on the dominant visual cultures of European imperialism and Christian missions in Africa can be retrieved. Focussing in particular on how AME missionaries deployed tropes of the culturally refined “New Negro” and the US South in their visual description of South Africa, this article demonstrates that photography was an important tool for black subjects to define their image beyond the representations of black inferiority that established visual traditions constructed.
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Witkovsky, Matthew S. "Photography as Model?" October 158 (October 2016): 7–18. http://dx.doi.org/10.1162/octo_a_00267.
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Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photography as a museum department or academic field of study offers the promise to counter far larger impulses toward totalization, above all in a marketplace beset by an obsession with global contemporary art. What the study of photographs can model is a field of creation that moves in, under, and against “art in general.”
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Rissanen, Mari-Jatta. "Entangled photographers: Agents and actants in preschoolers’ photography talk." International Journal of Education Through Art 16, no. 2 (2020): 271–86. http://dx.doi.org/10.1386/eta_00031_1.
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Photographs taken by young children have engendered a growing amount of research across diverse academic disciplines. Photographs have been used as visual data for analysing for example children’s social relations and well-being. However, only a few studies have addressed the photographic practices of young children as means for them to explore, imagine and coexist with the surrounding world. In this article, I introduce a case study that draws on research from art education and sociology of childhood. The data were gathered in a photography workshop in a Finnish early childhood education and care centre, where fourteen preschoolers discussed their photographs inspired by contemporary Finnish art photography. In order to expose diverse human and material actors and their interactions in preschoolers’ photography talk, I applied Bruno Latour’s actor-network-theory. Thus, preschoolers’ photography is seen as a practice of visual meaning-making wherein agency is distributed among several actors.
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DARDA, JOSEPH. "The Exceptionalist Optics of 9/11 Photography." Journal of American Studies 50, no. 1 (2014): 185–204. http://dx.doi.org/10.1017/s0021875814001881.
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During and after the 2001 attacks on New York City and Washington, thousands of photographs were taken. None, however, would become as iconic as Thomas Franklin's photo of three firefighters raising an American flag above the rubble of the World Trade Center. Franklin's photo, I argue in this essay, casts 9/11 in the familiar myth of American exceptionalism, screening out but still gesturing to the heterogeneous memories left unsettled and animate in amateur photographs, missing-person posters, bodies in pain, and performance. In considering the struggle over the visual memory of the attacks, I first consider how, in the wake of 9/11, the discourse of exceptionalism served to disavow the exceptions historically taken by the state and to rationalize the War on Terror. I show how this system of myths works in dialectical relation to other disruptive forms of cultural memory. I then read Franklin's iconic photograph as a screen by which traumatic memories are masked and onto which nationalist desires are projected. Finally, I analyze 9/11 photography that troubles the exceptionalist optics of Franklin's photo by evoking the visual legacy of the Vietnam War and so challenging the logic of righteous warfare.
Dissertations / Theses on the topic "N Visual arts (General) For photography"
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Gill, Sabina. "Exposing wounds : traces of trauma in post-War Polish photography." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/20052/.
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This thesis draws on psychoanalytic theories of trauma to interrogate works produced by Polish photographers after the Second World War. The aim of this thesis is to excavate traces of trauma latently embedded in post-war Polish art photography. By closely analysing a selection of photographs produced between the years 1945 and 1970, I argue that the events of the war cast a shadow over the lives of Polish artists. Rather than looking at photographs which directly visualise these traumatic events, I explore the ways in which these experiences manifest themselves indirectly or obliquely in the art of the period, through abstraction, a tendency towards ‘dark realism,’ and an interest in traces of human presence. Drawing on the photographs of Zbigniew Dłubak, Zdzisław Beksiński, Jerzy Lewczyński, Bronisław Schlabs, Andrzej Różycki, Józef Robakowski and other post-war photographers, I argue that the events of the war were not the only traumas to cast their shadow on the Polish psyche. Between 1945 and 1970, Poland underwent a series of transitions and changes in leadership, population and Party politics. Periods of optimism and leniency oscillated with phases of repression and social unrest. In my analysis, I suggest that multiple traumas can be discerned in these decades. What is at stake in this thesis is the proposition that a photograph can bear imperceptible traces of events that have wounded the psyche, which could not be articulated at the time, but which were made visible at a later date. Photographs made in the post-war years provided a space to belatedly return to encrypted traumas, to relay ideas that could not otherwise be articulated, and to acknowledge events that had been disavowed.
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Connolly, Stephen. "The spatial cinema : an encounter between Lefebvre and the moving image." Thesis, University of Kent, 2018. https://kar.kent.ac.uk/68457/.
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Machine Space is an essay film that explores the city of Detroit as a space of movement and circulation. This city is negotiated in the moving image as a palimpsest of maps, spatial metrics and automotive infrastructure; illustrating the material and discursive layers that have constructed this now post-industrial metropolis. This is a city where, in the words of the urban thinker Henri Lefebvre, 'the production of space itself replaces - or, rather, is superimposed upon - the production of things in space.' (Lefebvre 1991, p.62) This practice-as-research doctoral project explores an interface of Lefebvre's 'production of space' with the cinema; as visual artefact, a phenomenological document; and as media exhibited in a screening space. The result is a productive discourse of 'Spatial Cinema'.
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Santamas, Mihalis. "The space between : time, memory and transcendence in audio-photographic art." Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/29144/.
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This portfolio and commentary documents an approach to audiovisual composition that utilises sound and photographic images in an effort to create immersive, affective art which I call audio-photographic art. When presented in an immersive context, I contend that the temporal dissonance between still image and sound opens up a space between the materials. I draw upon Gernot Böhme's writings on the aesthetic of 'atmosphere', as well as the the theoretical writings of Roland Barthes, Paul Ricoeur and Eleni Ikoniadou among others to illustrate how this experience is constituted. This space between is an affective conceptual space in which the participant enters into a relationship with the materials of the piece, transcending their usual perception of time as they are immersed in the internal times of the artwork, their own memories and atmosphere. Through the use of maximal aesthetics and atmosphere as compositional tool, these themes are explored and developed throughout the creative portfolio. In the written submission I study the practical and theoretical concerns of the space between from three perspectives: 'The Temporal Space', 'The Memorial Space' and 'The Atmospheric Space'.
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Xenou, Ariadne Spyridonos. "A likeness of absence : photography and the contemporary visual culture of death in Athens." Thesis, Edinburgh Napier University, 2012. http://researchrepository.napier.ac.uk/Output/5423.
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Using my family experience as an auto-ethnographic case, I consider how photography creates postmemory and counter-memory and how it has come to adopt the position it currently holds in funereal rituals in Athens. My historical examination begins from the Byzantine creation of the cult of relics and the cult of saints. Through the history of the Orthodox religion and the creation of the Neohellenic state, I regard concepts of visual representation of death and identity. I examine the trends and tensions which have shaped death practices in relation to the semantic nature of and cultural impositions in the photographic artefact. These are the dominant factors which have constituted the photograph as a representation of death and counter-memory. I consider the cultural need to create visual representations and I examine such images as cultural products of communicating the thoughts and anxieties of the group which installs them; as such, photographs are representative of the mutability of death. In a secular age, the photographs of the deceased are treated by the living so they become quasi-sacred representations of symbolic capital and operate under a different system of values, according to the era in which they are produced. I argue that the way photographs in graveyards are currently transcending the roles Orthodox funereal doctrine bestowed upon them and the manner in which the photographic installations are accelerating in funereal practices, is a compensatory reaction to the postmodern disaffection of urban death. Keywords: photography, death-ritual, post-memory, identity, individualisation, Orthodoxy, Athens.
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Puzey, Jacqueline Michelle. "Hybrid dialogues, situational strategies : producing postcolonial visual culture." Thesis, Bath Spa University, 2014. http://researchspace.bathspa.ac.uk/1887/.
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Hybrid Dialogues, Situation Strategies (hereafter referred to as HDSS) aims to explore the production of a postcolonial visual culture, through action research centered on producing and reflecting on collaborative visual artworks. The aim of the research is to use collaborative creative practice itself as the site of investigation into the way in which visual creative strategies can reflect and redefine the processes of constructing, inhabiting and exchanging complex definitions of postcolonial identities. It is suggested that the reflexive creative processes of art/design methods, can bring productive, transformative and complex re-visibilisations of accepted and contested postcolonial histories, through the application of the 'familiarity' of making clothes as a wider metaphor for exploring the construction of complex, postcolonial identities. In my thesis I set out my understanding of postcolonial visual culture and its histories and their relationship to my practice and the project presented. The research is implemented through Shade, a project situated within postcolonial visual culture and which interrogates the processes of producing that postcolonial culture. As the major practice project for HDSS, Shade is the key site of the generation of new knowledge. Through participation and reflection a new methodology of "fittings" has been developed, combining the principles of participatory action research and the craft process of tailoring, embroidering and fitting, so that the development and performance of the garments and accessories for Shade also become an important space for generation of new postcolonial cultural exchanges. Through this reflective practice, five principles of/for creative engagement with postcolonial cultures are identified. These five principles are; 'shared histories', 'radical familiarities', 'complicit spectacle', 'transgressive crafts', and 'democratic bespoke'. HDSS insists on becoming deeply implicated in acts of collaborative practice and on reflection on the construction of postcolonial identities. This has produced the key contribution to new knowledge, which can be summarised as the theory of 'shared cultural production', which suggests that no act of postcolonial cultural production can be theorised without genuine democratic participation in the conditions of its production.
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Sim, Nicola. "'Like oil and water'? : partnerships between visual art institutions and youth organisations." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/49612/.
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This thesis interrogates partnership working between galleries and youth organisations involved in a four-year, Tate led programme called Circuit (2013-2017). This programme sought to build sustainable networks with youth organisations and services across England and Wales in order to ‘improve access and opportunities for harder to reach young people’ who may not otherwise engage with galleries and museums (Circuit, 2013a). Reflecting on the similarities and divergences that characterise practice in gallery education and youth work, this research untangles the historic barriers and tensions that have affected relationships between practitioners, organisations and the youth and visual art sectors. Mobilising Pierre Bourdieu’s theoretical framework, galleries and youth organisations are conceptualised as part of distinct ‘fields’, and their particular traditions, customs and internal contests are analysed. An exploration of the fields’ development under successive governments and changing policy priorities reveals that art organisations benefit from a greater affordance of agency and autonomy than youth organisations, which contributes to the uneven power dynamics that often exist in these cross-sector alliances. Reports from engagement with sector events also highlight how concepts of art and creativity frequently deviate between the fields. Through an ethnographic approach to the research context, participant observations and interviews produce data about Circuit’s programmatic decisions, and its efforts to shift problematic habitual practices. A series of in-depth site studies illustrate different ways for organisations to work together, as well as the challenges of collaboration in pressured political and economic circumstances. Cross-site analysis allows for further deliberation on the compatibility of Circuit’s wider peer-led programme agenda with the comparative agenda and practice of youth organisations. The ambition for young people to continue an independent relationship with the galleries’ programmes is shown to be hindered by a number of sometimes-misrecognised factors that unintentionally alienate certain communities of young people, particularly from working class backgrounds. The final stage of the analysis studies the identity, attitudes and positions of various youth sector agents working and participating within Circuit, and the specific ‘capital’ they bring to the temporary programmatic field. In discussing the implications for practice and research, this thesis asks whether (beyond programmes such as Circuit) it would be possible to establish a permanent collaborative or cooperative field between the youth and gallery sectors. I argue that this would only happen if a range of systemic changes were made, such as the development of national and regional structures to support integrated practice sharing; deeper engagement with the meaning and repercussions of partnership working; a determination to work collaboratively to address social urgencies facing young people, and a fundamental commitment to shift pervasive inequalities in the visual art sector.
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Tubb, Katherine Anne. "Marta Astfalck-Vietz : photographs 1924-1936." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/4385/.
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The Berlin photographer Marta Astfalck-Vietz was active in the Weimar Republic, between 1924 and 1936. Her work was re-discovered in 1989 by the curator Janos Frecot, who staged a solo exhibition of her work in the Berlinische Galerie in 1991, and her archive, comprising just over 400 prints, is now held there. Since this show, the work of Marta Astfalck-Vietz has rarely been exhibited. In both German and Anglo-American scholarship it has received sporadic attention; the only text devoted to her work is still the catalogue to Frecot’s 1991 show. This thesis presents her photography to an Anglo-American audience, not as a compensatory exercise in retrieving a forgotten woman artist, but as a contribution to the existing body of literature on women in the Weimar era. Like other female artists of the period, Marta Astfalck-Vietz negotiated between her private experiences of life in the Republic and representations of its social and political tensions, which were circulated in novels, in films, on the stage, and in magazines. Her photographs address the issues of sex gender and race that preoccupy historians of Weimar Germany, confirming, confounding, and expanding our knowledge of the era.
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Eade, Jane. "The sacred and the profane : sight and spiritual vision in the arts of the Baroque 1650-1700." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2330/.
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Dahlem, Andreas M. "The Wittelsbach Court in Munich : history and authority in the visual arts (1460-1508)." Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/892/.
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The culture at the ducal court of Sigmund and Albrecht IV of Bavaria-Munich was characterised by a coexistence of traditional as well as novel concepts and interests, which were expressed in the dukes’ artistic, architectural and literary patronage. Apart from examining the orthodox means of aristocratic self-aggrandizement like jousting, clothes, decorative arts and precious, exotic objects, this thesis discusses ‘innovative’ tendencies like the forward-looking application of retrospective motifs, historicising styles as well as the dukes’ genealogy, the ducal government’s imprint on the territory and the aesthetic qualities of the landscape. The study of a selection of buildings and works of art with the methodologies of the stylistic analysis, iconology and social history emphasises the conceptual relations between the ducal court’s various cultural products, which were conceived as ensembles and complemented each other. The elucidation of their meanings to contemporaries and the patrons’ intentions is substantiated with statements in contemporary written sources like travel reports, chronicles and the ducal court’s literary commissions. The principal chapters explore three thematic strands that are idiosyncratic for the culture at the court of Sigmund and Albrecht IV between 1460 and 1508, because they were consistently realised in several buildings and works of art. The first chapter provides an overview of the history of Munich, the Duchy of Bavaria and the Wittelsbach dynasty. The second chapter explores the princely self-conception at the threshold of the Late Middle Ages and the Early Modern Era by considering the application of clothes, decorative arts, knightly skills, exotic animals, and monuments of the patrons’ erudition as means of social communication and differentiation. The third chapter considers the dukes’ awareness as well as ‘manipulation’ of their genealogy and history as a forward-looking means for legitimating and realising their political objectives. It also examines the symbolism and origins of historicising motifs in art and architecture like the Church of Our Lady’s bulbous domes that acted as markers of the ducal sepulchre. The fourth chapter scrutinizes the impact of the dukes’ government and artistic as well as architectural patronage on their territory. It also considers emergence of poly-focal panoramic views from the interiors of castle and palaces into the surrounding countryside by examining the origins of this phenomenon and the perception of the landscape’s aesthetic qualities.
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Dunlop, Anne Elizabeth. "Advocata nostra : central Italian paintings of Mary as the Second Eve, c.1335-c.1445." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/2889/.
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This thesis is a close examination and analysis of the creation and reception of a group of eighteen Central Italian paintings of the Madonna with Eve presented reclining at her feet, images which draw on one of the fundamental themes of Mary's cult, her role as the Second Eve. Modern writers have sometimes been taken aback by these panels; in recent studies of women in history, Mary and Eve are often assumed to have been defining stereotypes of positive and negative feminine behaviour, and these works make a blatant juxtaposition of the two. Yet this imagery was obviously attractive to Trecento and Quattrocento patrons: this paradox lies at the heart of this thesis, which seeks to determine what these paintings might have meant to those who commissioned them and who first worshipped before them. To do so, this thesis begins by introducing the questions raised by the works; it then discusses textual and oral traditions linking Mary and Eve for Trecento and Quattrocento viewers, in order to suggest a range of possible associations for the imagery. There are then four case studies, intended to particularise the general themes of the pairing through specific images and contexts. The first focuses on Ambrogio Lorenzetti's frescoes at the former Cistercian abbey of S. Galgano, which were created, it is suggested here, by a member of that community in Mary's honour. The next chapter looks at the political and eschatological implications of images of Mary's rule as the Second Eve in the Papal States, discussing frescoes in S. Agostino, Montefalco, S. Gregorio Maggiore, Spoleto, and the Camposanto in Pisa, as well as a panel attributed to Carlo da Camerion, now in Cleveland, Ohio.
Books on the topic "N Visual arts (General) For photography"
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Grauerholz, Angela. Angela Grauerholz, recent photographs: MIT List Visual Arts Center, Cambridge, Massachusetts, September 11-December 19, 1993. MIT List Visual Arts Center, 1993.
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Steve, Prevesk, Bell Melinda, and Kaplan Todd, eds. 'N side 'N Sync: The ultimate official album / by 'N Sync ; with Steve Prevesk & Melinda Bell ; original photography by Todd Kaplan. Universe, 1999.
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David, Schloss. The blue pixel guide to travel photography: Perfect photos every time. Peachpit, 2005.
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Cordell, Diane. Using images to teach critical thinking skills: Visual literacy and digital photography. Libraries Unlimited, 2016.
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Cornia, Ivan E. Art is elementary: Teaching visual thinking through art concepts. Gibbs Smith, 1994.
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John, Stathatos, ed. Photography in the visual arts. Academy Group Ltd., 1995.
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Jack Spencer Frist Center for the Visual Arts Title. Vanderbilt University Press, 2013.
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Walker, Ian, Susan Butler, David Alan Mellor, and Yves Abrioux. Photography in the Visual Arts (Art and Design Profiles). Academy Editions, 1995.
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Blue Pixel Guide to Travel Photography: Perfect Photos Every Time, The. Peachpit Press, 2005.
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Frits, Gierstberg, Oosterbaan Warna, and Dijck José van, eds. The image society: Essays on visual culture. NAi Publishers, 2002.
Book chapters on the topic "N Visual arts (General) For photography"
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Reed, Christopher Robert. "The Rise of Black Chicago’s Culturati." In Roots of the Black Chicago Renaissance. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.003.0002.
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Chicago emerged two decades after its Great Fire of 1871 to host America's second world's fair, and with it witnessed the birth of a Black cultural movement along with the city's general rebirth. First in the performing arts, then progressing slower in the visual and literary arts, the next four decades beheld the rise of the foundational elements of a Black Chicago Renaissance somewhat paralleling that in Harlem but in an asymmetrical fashion. While the tempo of aesthetic evolution through two distinct periods was imbalanced, overall progress appeared: with a transformation in the class structure, bringing necessary Black patronage to the forefront; an intelligentsia to spur interest and appreciation in the fine arts; and impressive, awe-inspiring creative production in painting, sculpture, photography and music.