Books by Ryan Linkof
The stolen snapshot is a staple of the modern tabloid press, as ubiquitous as it is notorious. Th... more The stolen snapshot is a staple of the modern tabloid press, as ubiquitous as it is notorious. The first in-depth history of British tabloid photojournalism, this book explores the origin of the unauthorised celebrity photograph in the early 20th century, tracing its rise in the 1900s through to the first legal trial concerning the right to privacy from photographers shortly after the Second World War.
Packed with case studies from the glamorous to the infamous, the book argues that the candid snap was a tabloid innovation that drew its power from Britain's unique class tensions. Used by papers such as the Daily Mirror and Daily Sketch as a vehicle of mass communication, this new form of image played an important and often overlooked role in constructing the idea of the press photographer as a documentary eyewitness. From Edward VIII and Wallis Simpson to aristocratic debutantes Lady Diana Cooper and Margaret Whigham, the rage of the social elite at being pictured so intimately without permission was matched only by the fascination of working class readers, while the relationship of the British press to social, economic and political power was changed forever.
Initially pioneered in the metropole, tabloid-style photojournalism soon penetrated the journalistic culture of most of the globe. This in-depth account of its social and cultural history is an invaluable source of new research for historians of photography, journalism, visual culture, media and celebrity studies.
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This is Not a Selfie features current acquisitions of photographic self-portraits from the Audre... more This is Not a Selfie features current acquisitions of photographic self-portraits from the Audrey and Sydney Irmas Collection. Some of the artists included in this publication are Martin Kersels, Yves, Klein, Jennifer Moon, Warren Neidich, Catherine Opie, Amalia Pica, and Ilene Segalove. Each of the artists' practice and work are explored.
Los Angeles–based collectors Audrey and Sydney Irmas, along with their daughter, Deborah—a filmmaker and photo historian—began acquiring photography in the mid-1970s, eventually specializing in self-portraiture. Their collection of over three hundred works by almost as many artists now spans the entire history of photography, from the first inventions of the 1850s to images by leading contemporary artists.
Essays by Claire Crighton, Lisa Gabrielle Mark, Deborah Irmas, Dhyandra Lawson, Ryan Linkof, Rebecca Morse, Britt Salveson and Eve Schillo are included.
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Book Chapters by Ryan Linkof
Robert Mapplethorpe: The Photographs, edited by Paul Martineau and Britt Salvesen
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Getting the Picture: The Visual Culture of the News, edited by Jason Hill and Vanessa R. Schwartz, 2015
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British Queer History: New Approaches and Perspectives, edited by Brian Lewis, 2013
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Peer-reviewed Articles by Ryan Linkof
This essay closely analyzes the 1936 British film Sensation, directed by the eccentric queer film... more This essay closely analyzes the 1936 British film Sensation, directed by the eccentric queer filmmaker Brian Desmond Hurst. The film participated in an extensive and heated debate about intrusive and ‘sensational’ press practices that erupted in the 1930s. In his cinematic version of events, Hurst made sensational journalism seem like an exciting, if morally dubious, part of modern life—a news form that satisfied a basic human desire to learn about the private lives and hidden secrets of other people. This essay shows how Sensation, in its ambivalent relationship to this fraught cultural issue, reveals some of the complexities of interpreting queer filmmaking before the advent of a self-aware and politicized ‘queer film.’ It argues that intrusive journalism was of interest to Hurst precisely because it engaged with issues at the core of queer identity—exposure, revelation, privacy, and criminality—before the decriminalization of homosexual acts.
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Etudes photographiques, Mar 2012
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Photography and Culture, Nov 2011
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Exhibition Catalogues by Ryan Linkof
Fragment
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Curatorial Experience by Ryan Linkof
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Books by Ryan Linkof
Packed with case studies from the glamorous to the infamous, the book argues that the candid snap was a tabloid innovation that drew its power from Britain's unique class tensions. Used by papers such as the Daily Mirror and Daily Sketch as a vehicle of mass communication, this new form of image played an important and often overlooked role in constructing the idea of the press photographer as a documentary eyewitness. From Edward VIII and Wallis Simpson to aristocratic debutantes Lady Diana Cooper and Margaret Whigham, the rage of the social elite at being pictured so intimately without permission was matched only by the fascination of working class readers, while the relationship of the British press to social, economic and political power was changed forever.
Initially pioneered in the metropole, tabloid-style photojournalism soon penetrated the journalistic culture of most of the globe. This in-depth account of its social and cultural history is an invaluable source of new research for historians of photography, journalism, visual culture, media and celebrity studies.
Los Angeles–based collectors Audrey and Sydney Irmas, along with their daughter, Deborah—a filmmaker and photo historian—began acquiring photography in the mid-1970s, eventually specializing in self-portraiture. Their collection of over three hundred works by almost as many artists now spans the entire history of photography, from the first inventions of the 1850s to images by leading contemporary artists.
Essays by Claire Crighton, Lisa Gabrielle Mark, Deborah Irmas, Dhyandra Lawson, Ryan Linkof, Rebecca Morse, Britt Salveson and Eve Schillo are included.
Book Chapters by Ryan Linkof
Peer-reviewed Articles by Ryan Linkof
Exhibition Catalogues by Ryan Linkof
Curatorial Experience by Ryan Linkof
Packed with case studies from the glamorous to the infamous, the book argues that the candid snap was a tabloid innovation that drew its power from Britain's unique class tensions. Used by papers such as the Daily Mirror and Daily Sketch as a vehicle of mass communication, this new form of image played an important and often overlooked role in constructing the idea of the press photographer as a documentary eyewitness. From Edward VIII and Wallis Simpson to aristocratic debutantes Lady Diana Cooper and Margaret Whigham, the rage of the social elite at being pictured so intimately without permission was matched only by the fascination of working class readers, while the relationship of the British press to social, economic and political power was changed forever.
Initially pioneered in the metropole, tabloid-style photojournalism soon penetrated the journalistic culture of most of the globe. This in-depth account of its social and cultural history is an invaluable source of new research for historians of photography, journalism, visual culture, media and celebrity studies.
Los Angeles–based collectors Audrey and Sydney Irmas, along with their daughter, Deborah—a filmmaker and photo historian—began acquiring photography in the mid-1970s, eventually specializing in self-portraiture. Their collection of over three hundred works by almost as many artists now spans the entire history of photography, from the first inventions of the 1850s to images by leading contemporary artists.
Essays by Claire Crighton, Lisa Gabrielle Mark, Deborah Irmas, Dhyandra Lawson, Ryan Linkof, Rebecca Morse, Britt Salveson and Eve Schillo are included.
Organized with the USC Visual Studies Research Institute
Co-chair, Jessica Niebel
with
Britt Salvesen
Alison Trope
Barbara Miller