000 03351cam a2200433 i 4500
001 ocm1088539053
003 OCoLC
005 20211104145324.0
008 190705s2020 ncuaf b 001 0 eng
010 _a2019015471
019 _a1088524405
020 _a9781478004684
_q(paperback)
020 _a1478004681
020 _a9781478004073
_q(hardcover)
020 _a147800407X
020 _z9781478005537
_q(ebook)
035 _a(OCoLC)1088539053
040 _aNcD/DLC
_beng
_erda
_cDLC
_dOCLCO
_dOCLCF
_dNDD
_dUtOrBLW
_dMiTN
042 _apcc
043 _an-us---
050 0 0 _aGN347
_b.S658 2020
100 1 _aSmith, Shawn Michelle,
_d1965-
245 1 0 _aPhotographic returns :
_bracial justice and the time of photography /
_cShawn Michelle Smith.
264 1 _aDurham :
_bDuke University Press,
_c2020.
300 _aix, 236 pages, 16 unnumbered pages of plates :
_billustrations, color plates ;
_c24 cm.
336 _atext
_btxt
_2rdacontent.
337 _aunmediated
_bn
_2rdamedia.
338 _avolume
_bnc
_2rdacarrier.
504 _aIncludes bibliographical references and index.
505 0 _aPhotographic returns -- Looking forward and looking back: Rashid Johnson and Frederick Douglass on photography -- Photographic remains: Sally Mann at Antietam -- The scene of the crime: Deborah Luster -- Photographic referrals: Lorna Simpson's 9 props -- Afterimages: Jason Lazarus -- Photographic reenactments: Carrie Mae Weems's constructing history -- False returns: Taryn Simon's The Innocents -- A glimpse forward: Dawoud Bey's The Birmingham project.
520 _a"In PHOTOGRAPHIC RETURNS Shawn Smith sets out to examine works of contemporary art, only to find that many of the works refer back to the past, to photography's many intersections with the history of racial justice in the U.S. Smith focuses on flashpoints in that history -- spanning from the abolitionist movement, to the Civil War, lynching, and mass incarceration-- to mark the roles that photography has played in documenting the exigencies of Black life, and as a tool for resisting those racial regimes. For each of these moments, Smith shows how contemporary photographers utilize their medium as a way to recall, revise, or amplify the relationship between racial politics in the past and in the present. She argues that the tendency of African-American photographers and other artists to return to the archive of early photography does not simply point to the usefulness of early photography as document of the past, but to the recursive nature of photography itself. This study expands our theories of photography and memory by arguing that the recursive temporality of photography is central to its role in recording and remembering history. It also asserts that photography is an invaluable tool for critical practice of racial justice"--
_cProvided by publisher.
650 0 _aPhotography in ethnology
_zUnited States
_xHistory.
650 0 _aDocumentary photography
_zUnited States
_xHistory.
650 0 _aArt and photography
_zUnited States.
650 0 _aPhotography in historiography.
650 0 _aPhotography
_xSocial aspects
_zUnited States
_xHistory.
650 0 _aArt and history
_zUnited States.
776 0 8 _iOnline version:
_aSmith, Shawn Michelle, 1965-
_tPhotographic returns
_dDurham : 2020.
_z9781478005537
_w(DLC) 2019980936.
999 _c506138
_d506138