Correction to: On Photographing Artists’ Books (original) (raw)
2023, The Journal of Medical Humanities
AI-generated Abstract
This erratum addresses the corrections made to the original paper "On Photographing Artists’ Books," clarifying that the photographs from the original publication will now be provided as supplementary material. The erratum is officially included in the journal issue, and the original articles are referenced for access.
Sign up to get access to over 50M papers
Related papers
On Photographing Artists’ Books
Journal of Medical Humanities, 2019
Artists’ books are challenging to photograph. They function as a unit of tightly conceptually-bound visual, textual and material elements in addition to a heightened self-awareness of the work's booksness. Binding, size, weight, and shape of the book, translucency, texture, thickness of paper, placement of images and/or text on the page or off the page interact with other graphic elements; they control, and direct the reader towards the expressive components of meaning which arise from pace, haptic experience, and visual or structural stylistic choices. Most of such information gets sacrificed in the process of documentation. Here I discuss some of such issues of photographing artists books for this journal and my solutions to replicating each artists’ book within the physical and thematic constraints of this publication: I tried not only to visualize the books’ content but also to translate some of the experience of how that content makes itself meaningful to the reader.
The Mediation of Photography: Persian Painting in European Printed Books and Journals
Although there is little reason to deny that true familiarity with artefacts can only be attained through examining them in their tangible reality, we also have to admit that many works of art we know through reproductions only and that reproductions remain the most effective means for spreading knowledge about them. Yet despite the decisive epistemic status of illustrations, they themselves rarely become the subject of analysis and much of the indirect information which they might convey is glossed over. Acting as transparent windows to the originals, their intermediary existence-which has been realised, studied and exploited by modern artists for over a century-is usually denied by scholars. 1 This negligence characterises authors, editors and readers of scientific publications alike.
The Artist's Book and Photography (1979)
What kind of relationship can there exist between photographsreproductions of the « real », themselves infinitely reproducible -and a particular viewing context, that of the artist's book ? With this in mind, it would seem useful to take a close look at one example chosen for its analytical approach to the médium. Cover to Cover by Michael Snow 1 is thus a self-reflexive study of its own means presented in the form of a long photographie séquence.
Loading Preview
Sorry, preview is currently unavailable. You can download the paper by clicking the button above.