| Description |
viii, 358 pages : illustrations ; 24 cm |
| Bibliography |
Includes bibliographical references (pages 321-348) and index. |
| Contents |
Introduction: The social life of snapshot photography -- Intimate exposures -- Icons of intimacy and portraits of perversity -- "Ordinary pictures" in the Modern Art Museum -- Andy Warhol's snapshots: from the factory to America -- Nan Goldin at the limits of photographic possibility -- Conclusion: Afterlife. |
| Summary |
Snapshots capture everyday occasions. Taken by amateur photographers with simple point-and-shoot cameras, snapshots often commemorate something that is private and personal; yet they also reflect widely held cultural conventions. In this book, Catherine Zuromskis examines the development of a form of visual expression that is both public and private. |
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"Through a series of case studies, Zuromskis explores the social life of snapshot photography in the United States in the latter half of the twentieth century. She examines the treatment of snapshot photography in the 2002 film One Hour Photo and in the television crime drama Law and Order: Special Victims Unit; the growing interest of collectors and museum curators in 'vintage' snapshots; and the 'snapshot aesthetic' of Andy Warhol and Nan Goldin. She finds that Warhol's photographs of the Factory community and Goldin's intense and intimate photographs of friends and family use the conventions of the snapshot to celebrate an alternate version of 'family values.'"--Book jacket. |
| Subject |
Photography -- Social aspects -- United States.
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Photography -- Social aspects. |
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United States. |
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Photographic criticism -- United States.
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Photographic criticism. |
| ISBN |
0262019299 (hardcover : alkaline paper) |
|
9780262019293 (hardcover : alkaline paper) |
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