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Four Arts of Photography explores the history of photography through the lens of philosophy and proposes a new scholarly understanding of the art form for the 21st century. Re-examines the history of art photography through four major photographic movements and with case studies of representative images Employs a top-down, theory to case approach, as well as a bottom-up, case to theory approach Advances a new theory regarding the nature of photography that is grounded in technology but doesn't place it in opposition to painting Includes commentaries by two leading philosophers of photography, Diarmuid Costello and Cynthia A. Freeland

In What Photography Is , James Elkins examines the strange and alluring power of photography in the same provocative and evocative manner as he explored oil painting in his best-selling What Painting Is . In the course of an extended imaginary dialogue with Roland Barthes's Camera Lucida , Elkins argues that photography is also about meaninglessness--its apparently endless capacity to show us things that we do not want or need to see--and also about pain, because extremely powerful images can sear permanently into our consciousness. Extensively illustrated with a surprising range of images, the book demonstrates that what makes photography uniquely powerful is its ability to express the difficulty--physical, psychological, emotional, and aesthetic--of the act of seeing. 'The most exciting feature for me of this fascinating book was its articulation of the importance of writing in our engagement with photography. Writing for Elkins means the capacity to elicit articulate intensity in the tracking of the intricate turns and balances that can, and should, take place in a mind responding to expressive non-discursive materials. Here the distinctive feature of photography as a medium is not the punctum or the pursuit of sublimity but the photograph's powers for producing self-reflexive attention to how the work makes us see our own seeing--a power that is at risk when we become proud of the rhetorics that displace what the engagements of distinctive writing can bring to our attention.' - Charles Altieri, University of California, Berkeley ' In an impassioned dialogue with Roland Barthes, Jim Elkins argues that photography is not \"about\" representation and memory—those aspects of the Barthean punctum; rather, photography is \"at war with our attention.\" If we focus on its essential materiality and physicality, photography shows us things we would often prefer not to see—the \"splotches and stains, cracks, unpleasant shadows, errant dust\" in our natural environment as well as the human pain too hard to look at and yet unavoidably there. What is given by photography is the \"grainy substance of the world\" in all its irritating contradictions, its \"displeasures\"--the aporias that make the act of seeing itself so difficult. Elkins’s disillusioned meditation on how photography actually works upon the viewer is as original as it is profound.' Marjorie Perloff, author of Radical Artifice: Writing Poetry in the Age of Media and Unoriginal Genius: Poetry by Other Means in the 21st Century James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. He is the author of Pictures and Tears , How to Use Your Eyes , Stories of Art , Visual Studies , Why Are Our Pictures Puzzles , Our Beautiful , Dry , and Distant Texts , On the Strange Place of Religion in Contemporary Art , and Master Narratives and Their Discontents, all published by Routledge. He is editor of Art History Versus Aesthetics, Photography Theory, Landscape Theory, The State of Art Criticism, and Visual Literacy , all published by Routledge. Preface 1. Writing 2. Selenite, Ice, Salt 3. From the Green River to the Brunswick Peninsula 4. A Drop of Water, World Trade Center Dust 5. The Rapatronic Camera 6. Lingqi

Twenty years after cultivating a new orientation for aesthetics via the concept of non-photography, François Laruelle returns, having further developed his notion of a non-standard aesthetics. Published for the first time in a bilingual edition,Photo-Fiction, a Non-Standard Aestheticsexpounds on Laruelle's current explorations into a photographic thinking as an alternative to the worn-out notions of aesthetics based on an assumed domination of philosophy over art. He proposes a new philosophical photo-fictional apparatus, or philo-fiction, that strives for a discursive mimesis of the photographic apparatus and the flash of the Real entailed in its process of image making. \"A bit like if an artisan, to use a Socratic example, instead of making a camera based off of diagrams found in manuals, on the contrary had as his or her project the designing of a completely new apparatus of philo-fiction, thus capable of producing not simply photos, but photo-fictions.\" One must enter into a space for seeing the vectorial and the imaginary number. Laruelle's philo-fictions become not art installations, but \"theoretical installations\" calling for the consideration of the possibility of a non-standard aesthetics being of an equal or superior power to art and philosophy, an aesthetics in-the-last-instance that is itself an inventive and creative act of the most contemporary kind.

Photography can seem to capture reality like no other medium, wielding the power of proof. How can a piece of chemically discolored paper have such potency? How does the meaning of a photograph become fixed? In The Disciplinary Frame, John Tagg claims that, to answer these questions, we must look at the ways in which all that frames photography determines what counts as truth.