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Throughout Germany's tumultuous twentieth century, photography was an indispensable form of documentation. Whether acting as artists, witnesses, or reformers, both professional and amateur photographers chronicled social worlds through successive periods of radical upheaval. The Ethics of Seeing brings together an international group of scholars to explore the complex relationship between the visual and the historic in German history. Emphasizing the transformation of the visual arena and the ways in which ordinary people made sense of world events, these revealing case studies illustrate photography's multilayered role as a new form of representation, a means to subjective experience, and a fresh mode of narrating the past.

When Andy Grundberg landed in New York in the early 1970s as a budding writer, photography was at the margins of the contemporary art world. By 1991, when he left his post as critic for the New York Times , photography was at the vital center of artistic debate. Grundberg writes eloquently and authoritatively about photography's \"boom years,\" chronicling the medium's increasing role within the most important art movements of the time, from Earth Art and Conceptual Art to performance and video. He also traces photography's embrace by museums and galleries, as well as its politicization in the culture wars of the 80s and 90s. Grundberg reflects on the landmark exhibitions that defined the moment and his encounters with the work of leading photographers-many of whom he knew personally-including Gordon Matta-Clark, Cindy Sherman, and Robert Mapplethorpe. He navigates crucial themes such as photography's relationship to theory as well as feminism and artists of color. Part memoir and part history, this perspective by one of the period's leading critics ultimately tells a larger story about the crucial decades of the 70s and 80s through the medium of photography.

In Projecting Citizenship , Gabrielle Moser gives a comprehensive account of an unusual project produced by the British government’s Colonial Office Visual Instruction Committee at the beginning of the twentieth century—a series of lantern slide lectures that combined geography education and photography to teach schoolchildren around the world what it meant to look and to feel like an imperial citizen. Through detailed archival research and close readings, Moser elucidates the impact of this vast collection of photographs documenting the land and peoples of the British Empire, circulated between 1902 and 1945 in classrooms from Canada to Hong Kong, from the West Indies to Australia. Moser argues that these photographs played a central role in the invention and representation of imperial citizenship. She shows how citizenship became a photographable and teachable subject by tracing the intended readings of the images that the committee hoped to impart to viewers and analyzing how spectators may have used their encounters with these photographs for protest and resistance. Moser shows how the Visual Instruction Committee pictured citizenship within an everyday context and decenters the preoccupation with trauma, violence, atrocity, and conflict that characterizes much of the theoretical literature on visual citizenship and demonstrates that the relationship between photography and citizenship emerged not in the dismantling of modern colonialism but in its consolidation. Interweaving political and economic history, history of pedagogy, and theories of citizenship with a consideration of the aesthetic and affective dimensions of viewing the lectures, Projecting Citizenship offers important insights into the social inequalities and visual language of colonial rule.

Eyes on Labor narrates an essential chapter in American cultural history, offering a fascinating broad-stroke history of the relationship of photography to the complex and troubled history of 20th-century labor and unionization movements.

InImprisoned in a Luminous Glare, Leigh Raiford argues that over the past one hundred years activists in the black freedom struggle have used photographic imagery both to gain political recognition and to develop a different visual vocabulary about black lives. Raiford analyzes why activists chose photography over other media, explores the doubts some individuals had about the strategies, and shows how photography became an increasingly effective, if complex, tool in representing black political interests.Offering readings of the use of photography in the antilynching movement, the civil rights movement, and the black power movement, Raiford focuses on key transformations in technology, society, and politics to understand the evolution of photography's deployment in capturing white oppression, black resistance, and African American life. By putting photography at the center of the long African American freedom struggle, Raiford also explores how the recirculation of these indelible images in political campaigns and art exhibits both adds to and complicates our memory of the events.

The essays in this volume examine, from a historical perspective, how contested notions of modernity, civilization, and being governed were envisioned through photography in early twentieth-century Indonesia, a period when the Dutch colonial regime was implementing a liberal reform program known as the Ethical Policy. The contributors reveal how the camera evoked diverse, often contradictory modes of envisioning an ethically governed colony, one in which the very concepts of modernity and civilization were subject to dispute.

The first title in the new Intellect series 'Critical Photography', features photographs shot between 2004 and 2008 in fourteen different cities around the world. The images are linked by their shared attempts to define a two-dimensional approach to a three-dimensional built reality, and to address spatial representation and urbanity through art.

The essays in Photography, Modernity and the Governed in Late-colonial Indonesia examine, from a historical perspective, how contested notions of modernity, civilization and being governed were envisioned through photography in early twentieth-century Indonesia (c. 1901-1942), a period when a liberal reform program known as the Ethical Policy was being implemented under the Dutch colonial regime. This volume is the first English-language study of the Ethical Policy. It is also the first study to examine 'ethical' ways of seeing through photography, a medium whose proliferation among a mass audience as well as amateur practitioners coincided with a reform era that brought significant social and political change to colonial Indonesia. The essays in this collection, by leading scholars in the field - Susie Protschky, Jean Gelman Taylor, Rudolf Mràzek, Henk Schulte Nordholt, Karen Strassler, Pamela Pattynama, Joost Cotè and Paul Bijl - reveal how the camera evoked diverse, often contradictory modes of envisioning an ethically-governed colony, one in which the promises of 'modernity' and 'civilization' were contested notions. Photographs made by and for Indonesian men and women, Chinese, and Indo-Europeans provide unique insights into the concerns of historical actors whose views on the Ethical Policy have rarely been canvassed. Photographs taken by European authorities also provide new perspectives on how the reform program was conceived and implemented by the governing classes.

In the 1930s and 1940s, as the United States moved from a rural to an urban nation, the pull of the city was irrepressible. It was so strong that even a photographic mission designed to record the essence of rural America could not help but capture the energy of urbanization too.To the Cityshowcases over 100 photographs from the Farm Security Administration (FSA) project along with extracts from the Works Progress Administration (WPA) guidebooks and oral histories, to convey the detail and dimensions of that transformation. This artfully grouped collection of photographs includes magnificent images by notable photographers Dorothea Lange, Walker Evans and Gordon Parks, among many others. Foulkes organizes this history of Americana into five themes: Intersection; Traffic; High Life and Low Life; The City in the Country; and Citizens to illuminate the changes in habits, landscapes, and aspirations that the march to cities encompassed. As the rural past holds symbolic sway and the suburb presents demographic force, the urban portion of our history-why and how cities have been a destination for hope-recedes from view.To the Cityis a thoughtful, engaging reminder.