Extensive variety of material approaches to the studyof photography and photographic practicesThere is little dispute that photography is a materialpractice, and that the photograph itself is ineluctably material. And yet"matter," "material," and "materiality" have proven to be remarkably elusiveterms of inquiry, frequently producing studies that are disparate in scope,sharing seemingly little common ground. Although the wide methodological rangeof materialist study can be dizzying, it is this book's contention that thatmultiplicity is also the field's greatest asset, keeping materialist inquiryenduringly vibrant-provided that varying methods are in close enough proximityto converse. Photography'sMaterialities orchestrates one such conversation. Juxtaposing the insightsof theorists like Lacan, Benjamin, and Latour beside close studies of crime,spirit, and composite photography, among others, this collection aims for aproductive synergy, one capacious enough to span transatlantic spaces over thelong nineteenth century.Contributors: Kris Belden-Adams (University ofMississippi), Maura Coughlin (Bryant University), David LaRocca (independentscholar), Jacob W. Lewis (University of Rochester), Mary Marchand (GoucherCollege), Zachary Tavlin (Art Institute of Chicago), Christa Holm Vogelius(University of Copenhagen)This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
