{"product_id":"genres-in-photography-mapping-genres-onto-photography","title":"Genres in Photography: Mapping Genres onto Photography","description":"\u003cdiv\u003e \u003cdiv\u003e \u003cdiv\u003e \u003ch4\u003e\u003cspan\u003eGenres power culture—rock and jazz proved it.\u003c\/span\u003e\u003c\/h4\u003e\n\u003cp\u003e\u003cspan\u003eThis book opens a culture of looking so we can enjoy photographs more deeply.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWe often ask, “Seen any great films lately?” or “What music are you into?”\u003cbr\u003eBut how often do we hear, “Which photo books do you love?” or “What exhibitions have you seen?”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eWhy is photography the art we rarely talk about?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThat question drives this book. Music and cinema have \u003c\/span\u003e\u003cspan\u003egenres\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003ecriticism\u003c\/span\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cspan\u003ecommunities\u003c\/span\u003e\u003cspan\u003e that share and debate. Photography, by contrast, has spread as a culture of \u003c\/span\u003e\u003cspan\u003emaking\u003c\/span\u003e\u003cspan\u003e but not of \u003c\/span\u003e\u003cspan\u003elooking\u003c\/span\u003e\u003cspan\u003e. On social media, images stream past without authorship or context—no conversation, no memory. That’s where the inarticulacy begins.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe author identifies two structural causes:\u003c\/span\u003e\u003c\/p\u003e\n\u003col\u003e\n\u003cli\u003e\u003cspan\u003e\u003cspan\u003eNo shared genre map.\u003c\/span\u003e\u003cspan\u003e Where music has rock, jazz, classical—and cinema has action, horror, romance—photography has long been framed by \u003c\/span\u003e\u003cspan\u003efunctions\u003c\/span\u003e\u003cspan\u003e (“documentary,” “fashion,” “advertising”) rather than by \u003c\/span\u003e\u003cspan\u003eexpressive styles\u003c\/span\u003e\u003cspan\u003e.\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cspan\u003eAn ambiguous place for contemplative work.\u003c\/span\u003e\u003cspan\u003e Photography drifts between private snapshots and commercial imagery, leaving the status of \u003c\/span\u003e\u003cspan\u003eworks made to be looked at\u003c\/span\u003e\u003cspan\u003e unclear. The result: photography is harder to talk about as culture.\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp\u003e\u003cspan\u003eThe response: EPT (Expressive Photography Taxonomy).\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003eThe book organizes photography into seven genres, each with a clear ethos and lineage:\u003c\/span\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e\u003cspan\u003e\u003cspan\u003eNeo-Form\u003c\/span\u003e\u003cspan\u003e (structure and form): geometric rigor and formal clarity—from New Topographics (Lewis Baltz, Bernd \u0026amp; Hilla Becher) to today’s minimalist currents.\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cspan\u003eGritography\u003c\/span\u003e\u003cspan\u003e (urban immediacy): the rough grain and impulse of the street—William Klein, Daido Moriyama, Anders Petersen.\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cspan\u003eLuminism\u003c\/span\u003e\u003cspan\u003e (poetics of light): quiet atmospheres and the private lyricism of light—Rinko Kawauchi, Masao Yamamoto; a current engaging New Color and post–New Color sensibilities.\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cspan\u003eChromavision\u003c\/span\u003e\u003cspan\u003e (chromatic drive): color as protagonist—from the spirit of New Color (William Eggleston) to high-saturation, staged worlds (Miles Aldridge, Mika Ninagawa).\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cspan\u003eSynthesia\u003c\/span\u003e\u003cspan\u003e (technology \u0026amp; future vision): AI, 3DCG, and post-digital practices—where institutional critique (Thomas Ruff, Trevor Paglen) meets data visualization (Refik Anadol).\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cspan\u003eMythography\u003c\/span\u003e\u003cspan\u003e (staged narrative \u0026amp; symbol): the photograph as \u003c\/span\u003e\u003cspan\u003estage\u003c\/span\u003e\u003cspan\u003e—Cindy Sherman’s transformations, Gregory Crewdson’s cinematic tableaux.\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003cli\u003e\u003cspan\u003e\u003cspan\u003eDistortivism\u003c\/span\u003e\u003cspan\u003e (deconstruction \u0026amp; estrangement): breaking and remaking—from John Heartfield’s photomontage to Daisuke Yokota and Wolfgang Tillmans’s material experiments, and contemporary glitch art.\u003c\/span\u003e\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cspan\u003eAnother hallmark of the book is its reconnection to \u003c\/span\u003e\u003cspan\u003ehistory\u003c\/span\u003e\u003cspan\u003e. \u003c\/span\u003e\u003cspan\u003eNew Color Photography\u003c\/span\u003e\u003cspan\u003e, in the 1970s by William Eggleston, is reframed here across two currents—\u003c\/span\u003e\u003cspan\u003eChromavision\u003c\/span\u003e\u003cspan\u003e and \u003c\/span\u003e\u003cspan\u003eLuminism\u003c\/span\u003e\u003cspan\u003e. From Pictorialism to Straight Photography, the Bauhaus, New Topographics, and Conceptualism, twentieth-century vertical threads are interwoven with the seven horizontal genres.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eA comprehensive \u003c\/span\u003e\u003cspan\u003eappendix\u003c\/span\u003e\u003cspan\u003e maps representative photographers to each genre—covering international figures such as \u003c\/span\u003e\u003cspan\u003eCindy Sherman\u003c\/span\u003e\u003cspan\u003e, \u003c\/span\u003e\u003cspan\u003eGregory Crewdson\u003c\/span\u003e\u003cspan\u003e, and \u003c\/span\u003e\u003cspan\u003eHiroshi Sugimoto\u003c\/span\u003e\u003cspan\u003e, and extending to a new generation—so readers can grasp the landscape at a glance.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eIf you’ve ever wondered, \u003c\/span\u003e\u003cspan\u003e“How should I look at photographs?”\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003eIf you’ve wanted to enjoy photography \u003c\/span\u003e\u003cspan\u003emore deeply\u003c\/span\u003e\u003cspan\u003e—this book is both a \u003c\/span\u003e\u003cspan\u003enew tool for conversation\u003c\/span\u003e\u003cspan\u003e and a \u003c\/span\u003e\u003cspan\u003ecultural atlas\u003c\/span\u003e\u003cspan\u003e for “listening to\/reading” photographs.\u003cbr\u003e\u003cbr\u003e---\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eOn the Use of AI in This Book\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eThe conceptual framework presented in this book was developed by the author.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAI tools, including ChatGPT, were used as editorial and research assistants to help clarify structure and refine language.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAI serves as a tool for articulation—not a substitute for authorship.\u003c\/span\u003e\u003c\/p\u003e \u003c\/div\u003e \u003c\/div\u003e \u003c\/div\u003e","brand":"Books Prime","offers":[{"title":"Default Title","offer_id":45914379518143,"sku":"516511b9-55ed-4efc-a18f-9c087e480868","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0761\/7550\/7647\/files\/93dbb9adfd6d16e936c7861e211d2963.jpg?v=1785057486","url":"https:\/\/books-prime.com\/products\/genres-in-photography-mapping-genres-onto-photography","provider":"Books Prime","version":"1.0","type":"link"}