Africa, South and Southern, 34–37
apartheid, 35
archetype of pristine native life, 35
‘‘bantu homelands’’, 35
The Bantu Tribes of Southern Africa (1928–1954),35
Beyond the Barricades,36
The Black Photo Album/Look At Me 1890–1950,35
Boer War, 34
daguerreotypes, 34
De Beers Consolidated Mines, 35
democratic elections, 36
documentation of Afrikaners, 35, 36
Drummagazine, 35
ethnographic photography, 35
exoticism, 34
experimental photographic techniques, 36
exposure of atrocities, 36
foreign domination, 34
further reading, 36
illegal drinking establishments, 35
images of amaZulu, 35
middle class family portraits, 35
native stereotypes, 34
‘‘natural’’ separation of races, 35
partition of African continent, 34
paternalistic fantasy, 34, 35
political rallies, 36
problems of overcrowding and urban blight, 36
propaganda for missionaries, 34
racial classification, 34
Sallo Epstein and Company, 34
social activism, 36
South Africa:The Cordoned Heart,36
Staffrider,36
tension regarding subject matter, 36
tourism, 34
tourist colony, 35
trauma of industrialization, 34
use of press photography by State, 36
workshop atmosphere, 36
African Arts,27
Afterimage: The Journal of Media Arts and Cultural Criticism,
38, 39
criticism of institutional understanding of photography, 39
cultural diversity and, 38
editor of, 39
essays, 38, 39
focus of, 38
further reading, 39
list of exhibitions, 39
political stance of, 38
publication of, 39
questions motivating founding of, 38
questioning of photography’s aesthetics, 39
revisionist art history and, 38
socio-political critiques of photographic representation, 38
social issues, 39
topical issues, 39
vernacular photography, 39
Visual Culture Studies and, 38
Agitprop, 39–42
aim of, 39
Arbeiter Illustrierte Zeitung,40
capitalist ‘‘degeneracy’’ and, 40
communist revolution and, 39, 40
Electrification of the Entire Country,40
generation of class-conscious photographs, 40
German mass media empire, 40
legitimizing function of, 40
Marxist-Leninist ideology and, 39
The Meaning of the Hitler Salute,42
photomontage, 40, 42
political circumstances, 39, 40
redefinition of, 42
role of photography in culture of, 40
Stalin’s Five-Year Plans, 40
USSR in Construction,40
Worker-Photographer, 40
Air cable release, 196
Albers, Josef, homage to the square paintings, 104
Alpert, Max, 42–44
biography, 44
denunciation of nonrepresentational works, 43
Exhibition of Works by the Masters of Soviet Photo Art, 43
First All-Union Exhibition of Photo Art, 43
images of family life, 43
life, 42
magazine photography of, 42
photo stories, 43
propagandist, 42
Red Army, 42
Red Proletarian factory, 43
selected works, 44
Ambrotypes, 34
American Revolutionary Popular Alliance (APRA), 262
American western landscape, Ansel Adams and, 9
Analog-to-digital converter (ADC), 218
An American Place, 10, 44–46
Ansel Adams and, 45
contact with Stieglitz, 45
Equivalents,45
final decade of, 45
funds from, 45
lack of promotion of, 45
limited season of, 45
opening of, 45
photographers exhibiting at, 45
retrospective, 45
solo exhibition, 45
Anderson Galleries, 44
Ansel Adams Gallery, 10
Anthropological photography, 33
Apartheid, 24
Aperturemagazine, 149
Aperture, 212, 216
Aperture, shutter speed and, 216
Appropriation, 46–48
After Walker Evans,46
artists, 46
Barbara Kruger and, 47, 48
digital replication and, 47
diminished power and influence of, 47
distortion of photographs, 47
feminist critique, 47
film clips, 46
Harry Callahan and, 205
market support, 46, 47
mimicked look of Hollywood films, 46
New York East Village painter, 47
Pop Art movement, 46INDEXI3