000 | 03351cam a2200433 i 4500 | ||
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001 | ocm1088539053 | ||
003 | OCoLC | ||
005 | 20211104145324.0 | ||
008 | 190705s2020 ncuaf b 001 0 eng | ||
010 | _a2019015471 | ||
019 | _a1088524405 | ||
020 |
_a9781478004684 _q(paperback) |
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020 | _a1478004681 | ||
020 |
_a9781478004073 _q(hardcover) |
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020 | _a147800407X | ||
020 |
_z9781478005537 _q(ebook) |
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035 | _a(OCoLC)1088539053 | ||
040 |
_aNcD/DLC _beng _erda _cDLC _dOCLCO _dOCLCF _dNDD _dUtOrBLW _dMiTN |
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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. |
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336 |
_atext _btxt _2rdacontent. |
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337 |
_aunmediated _bn _2rdamedia. |
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338 |
_avolume _bnc _2rdacarrier. |
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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. |
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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 |