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A draft for chapter 3 of my The Making of English Photography, Allegories (2006). This essay looks at the classification of photography in the International exhibition of 1862. Photography as an allegory of the motley proletariat threatened to ruin bourgeois knowledge. In the process, I off an account of the taxonomy at work in the British International Exhibitions. Published in Art Journal, Vol.55, No.2, 1996
19: Interdisciplinary Studies in the Long Nineteenth Century
Routledge ebooks , 2020
Nineteenth-Century Contexts
Nineteenth-Century Art Worldwide, 2023
Review of this important anthology on 19th-century photography.
Penn State University Press, 2018
“This groundbreaking volume embodies a major shift in the historiography of photography. These first-rate contributions bring to bear the intellectual resources of the numerous disciplines that must inform the holistic study of photography in the future. Taken together, a new approach emerges, in which photography's status as a medium is not taken for granted, and in which its boundaries are defined dynamically by its interactions with other forms of representation and communication in the nineteenth century.” —Jordan Bear, author of Disillusioned: Victorian Photography and the Discerning Subject “This timely and refreshing book challenges the introspective ‘media exceptionalism’ that often accompanies photographic studies. Instead it places photography firmly within the broad field of cultures of communicative technology, from the telegraph to postal systems, enriching the understanding of all these entangled practices.” —Elizabeth Edwards, author of The Camera as Historian: Amateur Photographers and Historical Imagination, 1885–1918
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