The Resource Photographic returns : racial justice and the time of photography, Shawn Michelle Smith
Photographic returns : racial justice and the time of photography, Shawn Michelle Smith
Resource Information
The item Photographic returns : racial justice and the time of photography, Shawn Michelle Smith represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Colby College Libraries.This item is available to borrow from 1 library branch.
Resource Information
The item Photographic returns : racial justice and the time of photography, Shawn Michelle Smith represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in Colby College Libraries.
This item is available to borrow from 1 library branch.
- Summary
- "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"--
- Language
- eng
- Extent
- ix, 236 pages, 16 unnumbered pages of plates
- Contents
-
- Photographic 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
- Isbn
- 9781478004073
- Label
- Photographic returns : racial justice and the time of photography
- Title
- Photographic returns
- Title remainder
- racial justice and the time of photography
- Statement of responsibility
- Shawn Michelle Smith
- Subject
-
- Art and photography -- United States
- Art and photography -- United States
- Documentary photography
- Documentary photography -- United States -- History
- Documentary photography -- United States -- History
- History
- Photography -- Social aspects
- Photography -- Social aspects -- United States -- History
- Art and history
- Photography in ethnology
- Photography in ethnology -- United States -- History
- Photography in ethnology -- United States -- History
- Photography in historiography
- Photography in historiography
- Photography in historiography
- United States
- Photography -- Social aspects -- United States -- History
- Art and history -- United States
- Art and history -- United States
- Art and photography
- Language
- eng
- Summary
- "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"--
- Assigning source
- Provided by publisher
- Cataloging source
- NcD/DLC
- http://library.link/vocab/creatorDate
- 1965-
- http://library.link/vocab/creatorName
- Smith, Shawn Michelle
- Illustrations
-
- illustrations
- portraits
- plates
- Index
- index present
- Literary form
- non fiction
- Nature of contents
- bibliography
- http://library.link/vocab/subjectName
-
- Photography in ethnology
- Documentary photography
- Art and photography
- Photography in historiography
- Photography
- Art and history
- Art and history
- Art and photography
- Documentary photography
- Photography in ethnology
- Photography in historiography
- Photography
- United States
- Label
- Photographic returns : racial justice and the time of photography, Shawn Michelle Smith
- Bibliography note
- Includes bibliographical references and index
- Carrier category
- volume
- Carrier category code
-
- nc
- Carrier MARC source
- rdacarrier
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
- Photographic 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
- Control code
- 1088539053
- Dimensions
- 24 cm
- Extent
- ix, 236 pages, 16 unnumbered pages of plates
- Isbn
- 9781478004073
- Lccn
- 2019015471
- Media category
- unmediated
- Media MARC source
- rdamedia
- Media type code
-
- n
- Other physical details
- illustrations (some color), portraits
- System control number
- (OCoLC)1088539053
- Label
- Photographic returns : racial justice and the time of photography, Shawn Michelle Smith
- Bibliography note
- Includes bibliographical references and index
- Carrier category
- volume
- Carrier category code
-
- nc
- Carrier MARC source
- rdacarrier
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
- Photographic 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
- Control code
- 1088539053
- Dimensions
- 24 cm
- Extent
- ix, 236 pages, 16 unnumbered pages of plates
- Isbn
- 9781478004073
- Lccn
- 2019015471
- Media category
- unmediated
- Media MARC source
- rdamedia
- Media type code
-
- n
- Other physical details
- illustrations (some color), portraits
- System control number
- (OCoLC)1088539053
Subject
- Art and photography -- United States
- Art and photography -- United States
- Documentary photography
- Documentary photography -- United States -- History
- Documentary photography -- United States -- History
- History
- Photography -- Social aspects
- Photography -- Social aspects -- United States -- History
- Art and history
- Photography in ethnology
- Photography in ethnology -- United States -- History
- Photography in ethnology -- United States -- History
- Photography in historiography
- Photography in historiography
- Photography in historiography
- United States
- Photography -- Social aspects -- United States -- History
- Art and history -- United States
- Art and history -- United States
- Art and photography
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<div class="citation" vocab="http://schema.org/"><i class="fa fa-external-link-square fa-fw"></i> Data from <span resource="http://link.colby.edu/portal/Photographic-returns--racial-justice-and-the/SQ3E9iuc3Jk/" typeof="Book http://bibfra.me/vocab/lite/Item"><span property="name http://bibfra.me/vocab/lite/label"><a href="http://link.colby.edu/portal/Photographic-returns--racial-justice-and-the/SQ3E9iuc3Jk/">Photographic returns : racial justice and the time of photography, Shawn Michelle Smith</a></span> - <span property="potentialAction" typeOf="OrganizeAction"><span property="agent" typeof="LibrarySystem http://library.link/vocab/LibrarySystem" resource="http://link.colby.edu/"><span property="name http://bibfra.me/vocab/lite/label"><a property="url" href="https://link.colby.edu/">Colby College Libraries</a></span></span></span></span></div>
