Konstfacks bibliotek

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*852  $5Ko$bKo$hFOTOGRAFI - Inbvz Iscensättningar
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In the seventies, a group of American photographers challenged the established, modernist mode of photographic expression. Instead of viewing the camera as an objective, optical device and photographs as mechanically reproducible artistic products, the proponents of the new staged photography' seized the possibilities of conveying holistic life experiences by employing a full range of sensory impressions. In Impure Vision, photography theorist Moa Goysdotter analyses the work of four of the leading names in this new genre -- Les Krims, Duane Michals, Arthur Tress, and Lucas Samaras. Applying new perspectives to Seventies' art photography, she sheds fresh light on the four artists' critiques of purist ideals, and looks closely at their efforts to transcend the limitations of the purely visual effect of photography. Impure vision not only tells the history of American staged photography in a broad perspective, drawing on theories and methods new to the field, but also puts forward new approaches to photography history and theory in general.

• 1. Introduction 7
• Impure vision in a photo-historical perspective 10
• Purpose and research objectives 15
• The literature 17
• Theoretical points of departure 22
• Embodied mind - the phenomenological turn 22
• Optics and haptics 27
• Approaching American staged art photography - materials and method 29
• The photographers - short biographies and works, 1970 - 80 31
• Disposition 36
• 2. Dethroning optical vision 39
• Epistemological redefinitions and investigations 40
• Redefining photographic vision - an anti-Adams wave 43
• The estranging effects of optical vision 48
• Uncanny revelations 55
• The uncanny at a motif level - the unhomely homes of Krims and Tress 57
• The disembodying illusions of Michals and Samaras 65
• Theatre and narration - resurrecting the hybrid 73
• Samaras and Tress - directors of Verfremdungseffekt 75
• Photograph and text - narrative hybrids in the work of Krims and Michals 80
• Conclusion 85
• 3. Communicating inner life 89
• Thoughts, emotions, and disrupted communication 90
• Focusing on the metaphor - the equivalents of Minor White 93
• The empty appearance of emotion 98
• Technology and mind 104
• Camera as extra cognitive organ 105
• Real dreams - Michals and Tress stretch the concept of reality 110
• Conclusion 119
• 4. Haptic vision 121
• Vision and touch - a separation and a reunification 122
• The disembodied twin 124
• The haptics of the Polaroid - immediacy, presence, and skin 128
• Punctum and indexicality 134
• Vision, touch, and punctum 136
• Indexicality 141
• Magic principles 143
• The contagious magic of photography 145
• Photography as voodoo and place for violent acts 148
• Conclusion 154
• 5. Summary and concluding comment 157
• Notes 160
• Bibliography 167
• List of images 174
• Thanks 176