Materiality of Exhibition Photography in the Modernist Era

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A01=Laurie Taylor
art history
Author_Laurie Taylor
billboards
Calotype Process
Category=AGA
Category=AJ
Category=DSBH
Category=GLZ
Clement Greenberg
CNA
collection
Commercial Photography
conservation
curation
curatorial methodologies
curatorial studies
Daguerreotype Studio
eq_art-fashion-photography
eq_bestseller
eq_biography-true-stories
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Exhibition Materiality
exhibition photograph materiality analysis
Exhibition photography
exhibition studies
exhibitions
Gelatin Silver Print
Glossy Paper
Group f.64
Handmade artworks
Large Format Print
Large Format View Cameras
materiality
Mount Board
Mounting Conditions
mounts
museum display practices
museum studies
Non-art information
Photographic Art
Photographic Exhibition
Photographic Materiality
photographic object theory
Photographic Print
Photographic Surface
photography
Pictorialist Movement
Portfolio Print
Portfolio Size
Print Size
Print Surface
Pure Photography
Salt Paper Print
scale
size
snapshots
social meaning of images
surface
The Family of Man
The International Exhibition of Pictorial Photography
twentieth century
twentieth century art institutions
Vernacular cousins
Vernacular Photography
viewer
visual culture studies
White Mounts

Product details

  • ISBN 9780367427696
  • Weight: 503g
  • Dimensions: 174 x 246mm
  • Publication Date: 31 Dec 2020
  • Publisher: Taylor & Francis Ltd
  • Publication City/Country: GB
  • Product Form: Hardback
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This book challenges the status quo of the materiality of exhibited photographs, by considering examples from the early to mid-twentieth century, when photography’s place in the museum was not only continually questioned but also continually redefined.

By taking this historical approach, Laurie Taylor demonstrates the ways in which materiality (as opposed to image) was used to privilege the exhibited photograph as either an artwork or as non-art information. Consequently, the exhibited photograph is revealed, like its vernacular cousins, to be a social object whose material form, far from being supplemental, is instead integral and essential to the generation of meaning.

The book will be of interest to scholars working in art history, history of photography, theory of photography, curatorial studies and museum studies.

Laurie Taylor is Associate Lecturer in History of Art at Birkbeck College, University of London, and Assistant Editor of The History of Photography journal.

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