Criticizing Photographs
by Barrett, TerryEdition: 5th
Format: Paperback
Pub. Date: 2011-03-24
Publisher(s): MCGRAW HILL
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Summary
This brief text is designed to help both beginning and advanced students of photography better develop and articulate thoughtful criticism. Organized around the major activities of criticism (describing, interpreting, evaluating, and theorizing), Criticizing Photographs provides a clear framework and vocabulary for students' critical skill development.
Table of Contents
PrefaceChapter 1 • About Art Criticism
Definition of CriticismSources of CriticismKinds of CriticismThe Backgrounds of CriticsStances Toward CriticismRelations Between Critics and Artists The Art of Criticizing CriticismThe Value of CriticismChapter 2 • Describing Photographs: What Do I See?
Defining Description Describing an Exhibition: Avedon’s “In the American West” Describing Subject MatterDescribing FormDescribing MediumDescribing StyleComparing and ContrastingIdentifying Internal and External Sources of InformationDescribing and InterpretingDescribing and EvaluatingThe Importance of Description to ReadersPrinciples for Describing PhotographsChapter 3 • Interpreting Photographs: What Does It Mean?
Two Exemplary InterpretationsAbout InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Sources of CriticismKinds of CriticismThe Backgrounds of CriticsStances Toward CriticismRelations Between Critics and Artists The Art of Criticizing CriticismThe Value of CriticismChapter 2 • Describing Photographs: What Do I See?
Defining Description Describing an Exhibition: Avedon’s “In the American West” Describing Subject MatterDescribing FormDescribing MediumDescribing StyleComparing and ContrastingIdentifying Internal and External Sources of InformationDescribing and InterpretingDescribing and EvaluatingThe Importance of Description to ReadersPrinciples for Describing PhotographsChapter 3 • Interpreting Photographs: What Does It Mean?
Two Exemplary InterpretationsAbout InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
The Backgrounds of CriticsStances Toward CriticismRelations Between Critics and Artists The Art of Criticizing CriticismThe Value of CriticismChapter 2 • Describing Photographs: What Do I See?
Defining Description Describing an Exhibition: Avedon’s “In the American West” Describing Subject MatterDescribing FormDescribing MediumDescribing StyleComparing and ContrastingIdentifying Internal and External Sources of InformationDescribing and InterpretingDescribing and EvaluatingThe Importance of Description to ReadersPrinciples for Describing PhotographsChapter 3 • Interpreting Photographs: What Does It Mean?
Two Exemplary InterpretationsAbout InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Relations Between Critics and Artists The Art of Criticizing CriticismThe Value of CriticismChapter 2 • Describing Photographs: What Do I See?
Defining Description Describing an Exhibition: Avedon’s “In the American West” Describing Subject MatterDescribing FormDescribing MediumDescribing StyleComparing and ContrastingIdentifying Internal and External Sources of InformationDescribing and InterpretingDescribing and EvaluatingThe Importance of Description to ReadersPrinciples for Describing PhotographsChapter 3 • Interpreting Photographs: What Does It Mean?
Two Exemplary InterpretationsAbout InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
The Value of CriticismChapter 2 • Describing Photographs: What Do I See?
Defining Description Describing an Exhibition: Avedon’s “In the American West” Describing Subject MatterDescribing FormDescribing MediumDescribing StyleComparing and ContrastingIdentifying Internal and External Sources of InformationDescribing and InterpretingDescribing and EvaluatingThe Importance of Description to ReadersPrinciples for Describing PhotographsChapter 3 • Interpreting Photographs: What Does It Mean?
Two Exemplary InterpretationsAbout InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Describing an Exhibition: Avedon’s “In the American West” Describing Subject MatterDescribing FormDescribing MediumDescribing StyleComparing and ContrastingIdentifying Internal and External Sources of InformationDescribing and InterpretingDescribing and EvaluatingThe Importance of Description to ReadersPrinciples for Describing PhotographsChapter 3 • Interpreting Photographs: What Does It Mean?
Two Exemplary InterpretationsAbout InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Describing FormDescribing MediumDescribing StyleComparing and ContrastingIdentifying Internal and External Sources of InformationDescribing and InterpretingDescribing and EvaluatingThe Importance of Description to ReadersPrinciples for Describing PhotographsChapter 3 • Interpreting Photographs: What Does It Mean?
Two Exemplary InterpretationsAbout InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Describing StyleComparing and ContrastingIdentifying Internal and External Sources of InformationDescribing and InterpretingDescribing and EvaluatingThe Importance of Description to ReadersPrinciples for Describing PhotographsChapter 3 • Interpreting Photographs: What Does It Mean?
Two Exemplary InterpretationsAbout InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Identifying Internal and External Sources of InformationDescribing and InterpretingDescribing and EvaluatingThe Importance of Description to ReadersPrinciples for Describing PhotographsChapter 3 • Interpreting Photographs: What Does It Mean?
Two Exemplary InterpretationsAbout InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Describing and EvaluatingThe Importance of Description to ReadersPrinciples for Describing PhotographsChapter 3 • Interpreting Photographs: What Does It Mean?
Two Exemplary InterpretationsAbout InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Principles for Describing PhotographsChapter 3 • Interpreting Photographs: What Does It Mean?
Two Exemplary InterpretationsAbout InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
About InterpretationDefinition of InterpretationThe Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
The Objects of InterpretationsInterpretive Claims and ArgumentsInterpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Interpretive PerspectivesThree Interpretations of EleanorOther Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Other Interpretive StrategiesCombinations of Interpretive Approaches“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
“Right” InterpretationsInterpretations and the Artist’s IntentInterpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Interpretations and FeelingsInterpretation, Meaning, and Personal SignificanceThe Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
The Community of InterpretersChapter 4 • Types of Photographs
Categories of PhotographsNew CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
New CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Explanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Ethically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Theoretical PhotographsChapter 5 • Photographs and Contexts
Internal ContextOriginal ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Original ContextExternal ContextExternal Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
External Contexts and ConnotationsInterpretation of Barbara Kruger’s Untitled(“Surveillance”)with Contextual Information“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
“Surveillance” and Internal Context“Surveillance” and Original Context“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
“Surveillance” and External ContextBarbara Kruger’s Untitled (“Surveillance”) and the CategoriesDescriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Descriptive PhotographsExplanatory PhotographsInterpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Interpretive PhotographsEthically Evaluative PhotographsAesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Aesthetically Evaluative PhotographsTheoretical PhotographsThe Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
The Interpretive Process: A SummaryChapter 6 • Judging Photographs: Is It Good?
Examples of Judgmental StatementsPositive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Positive JudgmentsNegative JudgmentsImplied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Implied JudgmentsOpposing JudgmentsComparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Comparative JudgmentsJudgments and ReasonsJudgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Judgments and CriteriaDifferent CriteriaRealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
RealismExpressionismFormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
FormalismActivismOther CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Other CriteriaChoosing Among CriteriaDiffering JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Differing JudgmentsJudgments Are ArgumentsReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
ReappraisalsJudgments and PreferencesIntentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Intentionalism and JudgmentsThe Objects of JudgmentsJudgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Judgments of Robert Mapplethorpe’s PhotographsHilton Kramer’s and Grace Glueck’s Views of Mapplethorpe’s WorkOther Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Other Critics’ Views of Mapplethorpe’s WorkConclusionPrinciples for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Principles for Judging PhotographsChapter 7 • Photography Theory: Is It Art? Is It True? Is It Moral?
Photography Theory and PracticeOntological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Ontological Concerns: What Is a Photograph?Digital Images and OntologyEpistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Epistemological Concerns: Are Photographs True?Realist TheoryConventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Conventionalist TheoryPhotographic TruthAesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Aesthetic Concerns: Is Photography Art?Modernism and PostmodernismDigital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Digital Images and Aesthetic ConcernsEthical Concerns: Are Photographs Moral?Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Marxist Theory and Ethical PhotographyFeminist Theory and Ethical PhotographyMulticultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Multicultural Theory and Ethical PhotographyQueer Theory and Ethical PhotographyPostcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Postcolonial Theory and Ethical PhotographyConclusion Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Chapter 8 • Writing and Talking About Photographs
Writing About PhotographsObserving and Taking NotesQuick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Quick-Writes and Careful-WritesStudents’ Interpretive WritingsBuilding Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Building Visual InterpretationsMaking Personal MeaningJudging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Judging PhotographsWriting Criteria StatementsFour Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Four Student Views of Immediate Family by Sally MannWriting MetacriticallyWriting Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Writing Artists’ StatementsProcesses of WritingTalking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Talking About PhotographsStudio CritiquesKinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Kinds of CritiquesConducting Successful CritiquesPrinciples for Effective CritiquesNotesBibliographyIndex
Principles for Effective CritiquesNotesBibliographyIndex
BibliographyIndex
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