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 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. DAugust 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 : Lanonymat dauteur, in Le statut de lauteur dans limage documentaire : signature du neutre, Paris, Jeu de Paume, Document n° 3, 2006. "Nouvelle Objectivité, Nouvelle Pédagogie. A propos dAenne Biermann. 60 Fotos, 1930", Etudes photographiques, n° 19, décembre 2006. "Lhistoire 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 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.
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.
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
Nynäs Havsbad 2005
Professor, University of the West of England, Bristol, Head of the School
of Cultural Studies. His research interests are in photography and the
cultural analysis of digital media. He is currently researching the ways
in which new image technologies are being seen to enter our culture, in
the context of the social history of the reception of older 'new technologies'.
Elisabeth Anne McCauley
Professor, Princeton University, New York, Dep. of Art & Archeology.
Specialist in the history of photography and 19.th Century French visual
culture. She is particullarly interested in the sociology of art and the
formation of networks of elite patronage, criticism, and marketing during
the modern period and she has also written about the way photography as
a technology responded to and shaped discourses on scientific objectivity,
subjecthood and originality.
Professor of Art History at The Graduate Center, The City
University of New York. He is an expert in the theory and historiography
of photography, and has helped to pioneer the study of vernacular photography.
He has also been working as a curator and editor.
State researcher at the CNRS (Centre de Recherche sur les
Arts et le Language, Ecole des Hautes Etudes en Sciences Sociales, Paris)
and professor of history of photograhy at the Ecole du Louvre, Paris.
Author of numerous articles on photograhy from its origins to the present.
Curator of expositions and catalogs for the Centre National de la Photographie
This page last updated on
February 29, 2008
by Terje Øye