Individual style in photographic art

British Journal of Aesthetics

Volumn 36, Issue 4, 1996, Pages 389-397

  Warburton, Nigel ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 63149089879     PISSN: 00070904     EISSN: None     Source Type: Journal    
DOI: 10.1093/bjaesthetics/36.4.389     Document Type: Article

References (17)

1. Roger Scruton, 'Photography and Representation', in Roger Scruton, The Aesthetic Understanding (London: Methuen, 1983), pp. 102-126.
2. Philosophers have, on the whole, been attracted to some version of the transparency thesis: the most influential statement of this is Kendall Walton's 'Transparent Pictures: On the Nature of Photographic Realism', Critical Inquiry, Vol. 11 (December 1984), pp. 246-277;
3. this view is criticized in Nigel Warburton, 'Seeing Through "Seeing Through Photographs"', Ratio (New Series) Vol. 1 (June 1988), pp. 62-74.
4. For a critical overview of the debate, see Jonathan Friday's 'Transparency and the Photographic Image', British Journal of Aesthetics Vol. 36, No. 1 (January 1996), pp. 30-42.
5. Scruton, 'Photography and Representation', p. 103.
6. R. A. Sharpe, Contemporary Aesthetics (Brighton: Harvester, 1983).
7. William L. King, 'Scruton and Reasons for Looking at Photographs', British Journal of Aesthetics, Vol. 32, No. 3 (1992), pp. 258-265.
8. Robert Wicks, 'Photography as a Representational Art', British Journal of Aesthetics, Vol. 29, No. 1 (1989), pp. 1-9.
9. Nigel Warburton, 'Varieties of Photographic Representation', History of Photography, Vol. 15, No. 3 (Autumn 1991), pp. 203-210.
10. King, 'Scruton and Reasons for Looking at Photographs', p. 263.
11. For a convincing account of the nature of individual style in terms of the expression of the artist's implied personality, see Jenefer M. Robinson, 'Style and Personality in the Literary Work', Philosophical Revietv, Vol. 94, No. 2 (April 1985), pp. 227-247.
12. For an interesting discussion of the impact of pixel technology on photo-journalism, see Fred Ritchins's In Our own Image (New York: Aperture, 1990).
13. Emerson, quoted in Nancy Newhall, P. H. Emerson: The Fight for Photography as Fine Art (New York: Aperture, 1975), p. 93.
14. Jonathan Friday appears to be an exception to this trend when he points out that 'aesthetic representation is not the only, or even the most important, source of aesthetic value' ('Transparency and the Photographic Image', p. 41). Unfortunately he takes the view that photography is not significant for its representational qualities; whereas I take it as obvious that it can be, but often is not.
15. For a discussion of Arbus's interest in the psychology of self-revelation, see Nigel Warburton, 'Diana Arbus and Erving Goffman: the Presentation of Self', History of Photography, Vol. 16, No. 4 (Winter 1992), pp. 401-404.
16. For further details of Brandt's output, see Nigel Warburton (ed.), Bill Brandt: Selected Texts and Bibliography, (Oxford: Clio Press; New York: G. K. Hall, 1993), particularly the introductory essay, 'Brandt's Pictorialism'.
17. For further details, see Diane Arbus: Magazine Work (New York: Aperture, 1984).