Photography History and Theory: Introduction (Reading Response 1)

This week’s reading in Photography History and Theory was an introduction to the book of proceeding essay and commentaries including the texts of Benjamin, Barthes, and Foucault. The introduction begins by explaining how the book will work, by “confronting the history of photography [in a] double-bind of aesthetics and ethics.” What Emerling intends to do with this compilation is to use build a bridge between history and theory to find the space which can inform critical practice. By linking art history to complex notions of representation, life, and politics, Emerling is able to take a multi-disciplinary approach to creating. I found this to be particularly significant as a student at a liberal arts school, where this idea is constantly pushed in the name of global citizenship. In my liberal arts studies in particular, I am taking a class called “Ethics, Politics, and Art.” This class analyzes the media and arts within the contexts of greater social, economic, cultural, and political realms. It goes to show that these classes are not only useful at connecting with my facets of studies but can set a precedent for how all subjects should be approached.

One of the key terms Emerling repeats throughout his introduction is “discourse.” The dictionary definition of “discourse” is: a conversation or communication by words; a formal discussion. To be “discursive” is to be digressive, passing aimlessly from one subject to another. Emerling, on the other hand, uses “discourse” to define photography. It is the framework that photography cannot exist without as photography inherently “rethink[s] a history,” allowing us to understand the contextual means of production. Emerling continues by describing the differences between Greenberg formalism and critical postmodernism as landmarks in photographic history.

On page 9 of the Introduction, I was especially interested in Emerling’s ideas about practice and theory as complementary aspects of art. By iterating that history and theory are the means of thinking photography and creating “images of thought,” I was reminded that theory is not where critical practice ends. Art cannot be created without theory, but theory is not art itself.

“Practice—the production of an image—then “pierces this wall,” opening us to an outside.”

It was simply refreshing to be reminded that while theory is helpful for creating something more meaningful and impactful, the creating itself is what impacts the world. As a nerd for these readings, it is a good reminder to use what I learn for making something new.

Emerling continues his introduction by further defining photography as a means of reproduction, perhaps automatic, perhaps indexical, perhaps iconic and symbolic. What seems to be the greatest idea that Emerling hopes to communicate is that photography will always exist within history. Because of this, photography is inherently an embodiment of it and a way to take knowledge from it.