of the individual face. But whether or not contem-
porary artists self-consciously critique the portrait
and the discourses, institutions, and histories it par-
ticipates reinforces, the continued—and surprising—
appearance of this conservative genre in contempor-
ary art expresses anxiety about the loss of a general-
ized frame in which the particular, self-determining
individual can be recognized.
KimberlyLammSeealso:Cahun, Claude; Evans, Walker; Funke,
Jaromir; Hine, Lewis; Man Ray; Riis, Jacob; San-
der, August; Sekula, Allan; Steichen, Edward; Stie-
glitz, Alfred; Tabard, Maurice
Further Reading
Agee, James and Edward Weston.Let Us Now Praise
Famous Men, 1941. Boston: Houghton Mifflin, 1960.
Armstrong, Carol. ‘‘From Clementina to Ka ̈sebier: The
Photographic Attainment of the Lady Amateur.’’Octo-
ber91 (Winter 2000).
Baudelaire, Charles. ‘‘La Public Moderne et la Photogra-
phie,’’ 1859. InCuriosite ́s esthe ́tiques L’Art romantique et
autres Oeuvres critiques de Baudelaire. Paris, Bordas,
1990; as ‘‘The Modern Public and Photography.’’
Trans. Jonathan Mayne.Classic Essays on Photography.
Ed. Alan Trachtenberg. New Haven, CT: Leete’s Island
Books, 1980: 86–87.
Barthes, Roland.La Chambre Claire: Notes sur la photo-
graphie. Paris, Gallimard Sueil, 1980;Camera Lucida:
Reflections on Photography. Trans. Richard Howard,
New York: Hill and Wang, 1980.
Benjamin, Walter. ‘‘Uber den Begriff der Geschichte,’’
- InIlluminationen: Ausgewa ̈hlte Schriften 1. Frank-
furt am Main: Verlag, 1977; as ‘‘A Short History of
Photography.’’ Trans. Phil Patton.Classic Essays on
Photography. Ed. Alan Trachtenberg. New Haven, CT:
Leete’s Island Books, 1980: 203, 210.
Breton, Andre ́.‘‘LesVisagesdelaFemme,’’‘‘TheVisagesof
the Woman’’ inPhotographs by Man Ray 1920 Paris 1934.
Edited by James Thrall Soby. New York: Dover Books, 42.
Brilliant, Richard.Portraiture. London: Reaktion Books, 1991.
Buchloch, Benjamin H.D. ‘‘Residual Resemblance: Three
Notes on the Ends of Portraiture.’’ InFace-Off: The
Portrait in Recent Art. Philadelphia: Institute of Con-
temporary Art, 1994: 54.
Clarke, Graham, ed.The Portrait in Photography. London,
Reaktion Books; Seattle, WA: University of Washington
Press, 1992: 72.
Daniel, Malcolm. ‘‘Inventing a New Art: Early Photo-
graphs from the Rubel Collection in the Metropolitan
Museum of Art.’’Metropolitan Museum of Art Bulletin.
(Spring 1999): 34.
Eastlake, Lady Elizabeth. ‘‘Photography,’’ 1857.Classic
Essays on Photography. Ed. Alan Trachtenberg. New
Haven, CT: Leete’s Island Books, 1980: 40–41, 54.
Goldin, Nan.The Ballad of Sexual Dependency. Edited by
Marvin Heiferman, Mark Holborn, and Suzanne
Fletcher. New York: Aperture, 1986.
Kozloff, Max. ‘‘Nadar and the Republic of the Mind,’’
1979.Photography in Print: Writings from 1816 to the
Present. Ed. Vicki Goldberg. Albuquerque, NM: Uni-
versity of New Mexico Press, 1981: 133.
Phillips, David Llewellyn. ‘‘Photography, Modernity, and
Art.’’ InNineteenth Century Art: A Critical History.
Edited by Crow, Lukacher, Nochlin, Phillips, and Pohl.
London: Thames and Hudson, 2002.
Poe, Edgar Allen. ‘‘The Daguerreotype,’’ 1840.Classic
Essays on Photography. Ed. Alan Trachtenberg. New
Haven, CT: Leete’s Island Books, 1980: 38.
Riis, Jacob.How the Other Half Lives: Studies Among the
Tenements of New York, 1890. New York: Dover, 1971.
Rudisill, Russell. ‘‘Mirror Image: The Influence of the
Daguerreotype on American Society,’’ 1971.Photogra-
phy in Print: Writings from 1816 to the Present. Ed. Vicki
Goldberg. Albuquerque, NM: University of New Mex-
ico Press, 1981: 71.
Sekula, Allan. ‘‘The Body and the Archive.’’October 39
(Winter 1986). 6, 10–11.
Tagg, John.The Burden of Representation: Essays on Photo-
graphies and Histories. Minneapolis: University of Min-
nesota Press, 1993: 35–36.
Trachtenberg, Alan. Reading American Photographs:
Images as History Mathew Brady to Walker Evans.
New York: Hill and Wang, 1989: 38, 76, 170, 176.
Woodall, Joanna. ‘‘Introduction: Facing the Subject.’’Portrai-
ture: Facing the Subject. Ed. Joanna Woodall. Manchester
and New York: Manchester UP and St. Martin’s, 1997: 3.POSTERIZATION
Following disclosure of the technique in 1932 by
Witold Romer in Poland, posterization emerged as
a creative printing technique. As photographic mate-
rials improved, the method increased in popularity
and was often described as tone separation. Instead
of relying on a full range of graduated tones, the
camera negative was modified to ensure the poster-
ized print only used a limited number of tones.
The boldness of presentation and the graphic repre-
sentation of the original justified the description ofPORTRAITURE