Paris 2007

Michel Frizot

Michel Frizot is State researcher (CNRS-Philosophy Department), (Centre de recherche sur les Arts et le Langage, EHESS), Art Historian and Photo Historian, Ph D Advisor EHESS, Master Teacher EHESS. First lectures on History of Photography at University in 1977. Professor of Photo History at Ecole du Louvre since 1990. Editor of Nouvelle Histoire de la Photographie, 1994 (A New History of Photography, 1998). Team of Centre national de la photographie, 1982-1990 (Photo Poche series, many exhibitions, such as "Identités", "Le temps d'un mouvement", "Photographie/Sculpture", colloque "Sculpter/Photographier").

Selected publications: J.H.Lartigue, le passé composé, Centre national de la photographie, 1984; Hippolyte Bayard, naissance de l'image photographique, Amiens, 1987 (avec Jean-Claude Gautrand) ; Histoire de Voir , une histoire de la photographie, Photo Poche, 1989 ; E.J. Marey, chronophotographe, Nathan-Delpire, 2001 ; Photographie(r), (avec Cedric de Veigy), La Documentation Française, Paris, 2001 ; Photo Trouvée. Amateur photographs collected by Michel Frizot et Cédric de Veigy, Phaidon, 2006 ; Henri Cartier-Bresson. Scrapbook, Photographies 1932-1946, (english edition) Michel Frizot, Agnès Sire, Steidl, 2006.

Olivier Lugon

Olivier Lugon is art historian, professor of picture history at Lausanne University. Recipient of Getty and Swiss National Science Foundation Fellowships, he focused his researches on German and American photography of the inter-wars years, documentary photography, architecture and design photography, and exhibition design.

Selected publications: La photographie en Allemagne. Anthologie de textes, 1919-1939 (Nîmes 1997), August Sander. Landschaften, Munich, 1999 and Le style documentaire. D’August Sander à Walker Evans, 1920-1945, Paris 2002. He is currently working on the history of photographic exhibitions in the 20th century.Most recent articles : “L’anonymat d’auteur“, in Le statut de l’auteur dans l’image documentaire : signature du neutre, Paris, Jeu de Paume, Document n° 3, 2006. "Nouvelle Objectivité, Nouvelle Pédagogie. A propos d’Aenne Biermann. 60 Fotos, 1930", Etudes photographiques, n° 19, décembre 2006. "L’histoire de la photographie selon Eugène Atget", in Atget, une rétrospective, exh. catalogue, Paris, Bibliothèque Nationale/Editions Hazan, 2007 (also in German). "La photographie des typographes", Etudes photographiques, n° 20, juin 2007 (to be published).

Abigail Solomon-Godeau

Abigail Solomon-Godeau is professor of Art History at the University of California, Santa Barbara.

Selected publications: Photography at the Dock: Essays on Photographic History, Institutions and Practices, 1992; Male Trouble: A Crisis in Representation, 1997 and the forthcoming The Face of Difference: Gender, Race, and the Politics of Self-Representation. Her essays, which deal with subjects such as feminist theory, contemporary art, photography, eighteenth and nineteenth century French visual culture have appeared in Aperture, Afterimage, Art in America, Artforum, October, and include many exhibition catalogues, have been widely anthologized and translated into several languages.

Hanasaari 2006

Elizabeth Edwards

Elizabeth Edwards is Professor and holds a Visiting Research Fellowship at the University of the Arts in London (London College of Communication). Edwards was formerly the Head of Photograph Collections at the Pitt Rivers Museum and Lecturer in Visual Anthropology at the Institute of Social and Cultural Anthropology, University of Oxford.
 
Selected publications: Anthropology and Photography, 1860-1920 (1994), In Visible Light Photography and Classification in Art, Science and the Everyday (1997), Raw Histories Photographs, Anthropology and Museums (2001).

Margaret Iversen

Dr Margaret Iversen from Essex is one of the leading international authorities in the field of art theory and contemporary art. She came to Essex to write a dissertation on one of the founders of At History as a discipline: Alois Riegl. Art History and Theory (1993). Her theme is from her forthcoming book Two Essays on Photography: “Photography Degree Zero” and “Involuntary Photography”, which sets out to explore contemporary photographic art practice in relation to quite different aspects of the medium

Selected publications: "What is a Photograph?"Art History, and Guest Editor, Special Issue of Art History: "Psychoanalysis and Art History", Art History, 17: 3, Sept. 1994 pp. 450-463; "In the Blind Field: Hopper and the Uncanny", Art History, 21:3, September 1998, pp. 409-429; "Barthes on Art", in Paul Smith and Carolyn Wilde (eds.), A Companion to Art Theory, Blackwell, May, 2002; Art and Thought, edited and introduced with Dana Arnold, Blackwells, 2003, 224 pages; "Readymade, Found Object, Photograph", article for a special edition of the Art Journal edited by James Meyer on Aesthetics/Anti-aesthetics, Summer, 2004, pp.44-57.

Nynäs Havsbad 2005

Abigail Solomon-Godeau

Abigail Solomon-Godeau teaches and publishes in the fields of photography, contemporary art, 19th-Century French art, and feminist and critical theory. She is the author of Photography at the Dock. Essays on Photographic History, Institutions and Practices (1991) and Male Trouble. A Crisis in Representation (1996). Her essays, which have been widely anthologized, have appeared in journals such as Afterimage, Art in America, Camera Obscura, October, Screen, and others. She is currently completing two books; one, a series of essays on photographic self representation; the other, a study of the female nude in French painting.

Clément Chéroux

Clément Chéroux is a photography historian and Associate editor of the review Etudes photographiques. He published L’Expérience photographique d’August Strindberg (1994) and Fautographie, petite histoire de l’erreur photographique (2003). He has been curator and editor of the catalogues of the exhibitions Mémoire des camps. Photographie des camps de concentration et d’extermination nazis (2001) and Le troisième œil. La photographie et l’occulte (2004). He is visiting research fellow at the Princeton University.

Karin Becker

Karin Becker is a media researcher with visual culture as her primary field. Her research includes studies of visual ethnography, photojournalism and photography across a range of public, privat and institutional settings. She holds joint appointments as professor at Tema Q (Department of Culture Studies), Linköping University, and at JMK (Journalism, Media and Communication), Stockholm University, and was Professor of Visual Studies and Pedagogy at Konstfack (College of Art, Craft and Design), Stockholm, 1997– 2004.

Selected publications include: Dorothea Lange and the Documentary Tradition (1980), “Photojournalism and the Tabloid Press” in Peter Dahlgren and Colin Sparks (ed.) Journalism and Popular Culture (1992), Karin Becker, Erling Bjurström, Johan Fornäs and Hillevi Ganetz (ed.) Passager. Medier och kultur i ett köpcentrum (2001), “Where is Visual Culture in Contemporary Theories of Media and Communication?” in Nordicom Review 25/1–2 (2004).

Sophienberg 2004