000			02785nam a22003738i 4500
001			683296
005			20210719170415.0
008			141218t20152015cau b s001 0 eng c
010			_a2014048856
020			_a9780520285279 (cloth : alk. paper)
020			_a0520285271 (cloth : alk. paper)
035			_a(DLC) 2014048856
040			_aCU-S/DLC _beng _erda _cCU-S
042			_apcc
050	0	0	_aTR187 _b.A425 2015
082	0	0	_a770 _223
100	1		_aAlbers, Kate Palmer, _d1974- _eauthor.
245	1	0	_aUncertain histories : _baccumulation, inaccessibility, and doubt in contemporary photography / _cKate Palmer Albers.
263			_a1507
264		1	_aOakland, California : _bUniversity of California Press, _c[2015]
264		4	_c©2015
300			_apages cm
336			_atext _2rdacontent
337			_aunmediated _2rdamedia
338			_avolume _2rdacarrier
504			_aIncludes bibliographical references and index.
505	0		_aIntroduction Cultivating uncertainty Displacements : Gerhard Richter's Atlas "Around this nucleus a large empty space" : Dinh Q. Lê's Mot coi di ve Historical reconstruction and doubt : Christian Boltanski's Les Archives de C.B. 1965-1988 After the fact : Joel Sternfeld's On this site The performative landscape : Ken Gonzales-Day's Hang trees Conclusion.
520	3		_a"The compulsion to dwell on history--on how it is recorded, stored, saved, forgotten, narrated, lost, remembered, and made public--has been at the heart of artists' engagement with the photographic medium since the late 1960s. Uncertain Histories considers some of that work, ranging from installations that incorporate vast numbers of personal and vernacular photographs by Christian Boltanski, Dinh Q. Lê, and Gerhard Richter to confrontations with absence in the work of Joel Sternfeld and Ken Gonzales-Day. Projects such as these revolve around a photographic paradox that hinges equally on knowing and not knowing, on definitive proof coupled with uncertainty, on abundance of imagery being met squarely with its own inadequacy. Photography is seen as a fundamentally ambiguous medium that can be evocative of the historical past while at the same time limited in the stories it can convey. Rather than proclaiming definitively what photography is, the work discussed here posits photographs as objects always held in suspension, perpetually oscillating in their ability to tell history. Yet this ultimately leads to a new kind of knowledge production: uncertainty is not a dead end but a generative space for the viewer's engagement with the construction of history"--Provided by publisher.
650		0	_aPhotographic criticism.
650		0	_aPhotography, Artistic.
650		0	_aArt and history.
650		0	_aHistory in art.
942			_n0
999			_c39224 _d39224