Laurie Taylor | Arts University Bournemouth (original) (raw)
Related Authors
Uploads
Papers by Laurie Taylor
Routledge ebooks , Dec 30, 2020
This book challenges the status quo of the materiality of exhibited photographs, by considering e... more 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.
The Big Picture: The Materiality of Size in Ansel Adams’s Large-Scale Works
History of Photography, 2019
The prominence of the large-format photograph in contemporary art since the 1970s is often attrib... more The prominence of the large-format photograph in contemporary art since the 1970s is often attributed to the desire to explore new pictorial and spatial avenues by moving beyond the documentary approaches that had dominated since the 1930s. While not an inaccurate characterisation, the focus upon the artistic impulses associated with large-scale photography comes at the expense of the material issues that enabled it. This article addresses the gap by examining two largely overlooked forms produced by Ansel Adams between 1930 and 1960 – the photomural and the folding photo-screen – in order to demonstrate the high level of direct engagement that existed between photographer and materiality, which resulted in large-scale works that addressed many of the same issues dealt with in contemporary large-format photography, but that also stood in stark contrast to the ephemeral, mass-produced, large-scale work prevalent at the time. By considering historical examples, from an era when materials and processes were very different, the article demonstrates the active, physical effects of photographic enlargement, revealing print size to be not simply a changeable option but an inherently material condition, honing our understanding of why a photograph is big by demonstrating how it got that way.
Routledge ebooks , Dec 30, 2020
This book challenges the status quo of the materiality of exhibited photographs, by considering e... more 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.
The Big Picture: The Materiality of Size in Ansel Adams’s Large-Scale Works
History of Photography, 2019
The prominence of the large-format photograph in contemporary art since the 1970s is often attrib... more The prominence of the large-format photograph in contemporary art since the 1970s is often attributed to the desire to explore new pictorial and spatial avenues by moving beyond the documentary approaches that had dominated since the 1930s. While not an inaccurate characterisation, the focus upon the artistic impulses associated with large-scale photography comes at the expense of the material issues that enabled it. This article addresses the gap by examining two largely overlooked forms produced by Ansel Adams between 1930 and 1960 – the photomural and the folding photo-screen – in order to demonstrate the high level of direct engagement that existed between photographer and materiality, which resulted in large-scale works that addressed many of the same issues dealt with in contemporary large-format photography, but that also stood in stark contrast to the ephemeral, mass-produced, large-scale work prevalent at the time. By considering historical examples, from an era when materials and processes were very different, the article demonstrates the active, physical effects of photographic enlargement, revealing print size to be not simply a changeable option but an inherently material condition, honing our understanding of why a photograph is big by demonstrating how it got that way.