100 Books Like How Photography Became Contemporary Art

Not much in common between Gombrich and Berger, ideologically—so I would presume. Yet Berger’s social history of Western art, woven into the rise of capitalism, advertising, and mass media, is similarly direct in style.

It irritates me; it’s supposed to irritate. Given its radical energy, the book seems surprisingly undated. First published in 1972, it also still seems adventurous in design—the art book as a work of art.

As the legendary curator of photography at the Museum of Modern Art, John Szarkowski was instrumental in elevating photography’s stature to an equal among the fine arts. He is eloquent in his explanation about the meaning of photography and illuminating in his descriptions of each of the one hundred photographs published in this book from MoMA’s sterling collection of photographs. There is no better guide to an awakening of your own eye than Szarkowski.

I tried to do something different with this list than the usual photography books people often cite, however, there is just no avoiding how important Robert Frank’s The Americans has been on the medium. In 1955, Frank departed for a two-year road trip to document the people of the United States, which coincided with the evolution of new post-war classes – namely, the working poor and those who would eventually become the beatniks of the ‘60s. Focusing on the racial and socio-geographic divide, Frank was a pioneer, as his work defiantly contradicted the popular romanticized propaganda of Life Magazine, opening the doors to the gritty documentary and street photography genres we know today.

Evidence, published in 1977, is a book of black-and-white pictures culled by these two artists from the archives of government agencies, public utilities, university laboratories, and private corporations. The anonymous photographs were made to document actual fires, land sites, crime scenes, product testing, and scientific experimentation. In Evidence, the pictures are removed from their context of origin and printed, one to a page, without caption information. Individually, the pictures take on surrealist properties subject to endless narrative interpretation; collectively, the sequencing creates a running narrative with no coherent story. Since the pictures so closely resemble the black-and-white documentary images that came to define art photography in the 1970s, Evidence was among the early postmodern works to contest the growing acceptance of photography as art, photographer as artist-author, photographic documentation as fact, and the truth-telling capability of the medium as unwavering.

In the 1940s, a young American woman named Mariana Yampolsky came to Mexico to study and never looked back. Throughout the 1960s, she wandered around the country taking shots of the rural and indigenous people she met. Her lens conveyed the poorest aspects of Mexican culture with empathy and artistry that no other photographers of the time demonstrated. Inexplicably, for all its vast and varied geography, ethnicities, and societal classes, rivaling even China in terms of its photogenic diversity, there are very few photography books on Mexico, making The Edge of Time a timeless literary benchmark.

In contrast to John Berger’s Marxist aesthetic, Barthes’s approach to visual experience and photographic images draws upon the tradition of semiotics and, to a degree, postmodern theories of text and intertextuality. Barthes leads his reader into the codes and conventions of the image. How images signify is thus made a central topic that provokes self-reflection and reflexive challenges to conventional image analysis. Where Berger’s work is expository and analytic, Barthes's book is exploratory and novelistic (Barthes would have his reader approach the work as a kind of intertextual fiction). As the title of the work suggests, this is Barthes at his most personal and reflective. His fascination remains with the photographic image which is presented as one of the defining aesthetic objects of modernity. But the act of photography is now itself complex, mediated, and open to a range of concrete experiential impulses.

Here the viewer of the photograph is… show more.

On Photography is Sontag’s attempt to develop the thought of Barthes, Benjamin, and others and apply the resultant perspective to the critical understanding of the fundamental role of photography in modern life. The book is constructed as a series of interconnected essays, each of which explores the moral and dialectical character of photographic interventions. Photography embodies the moral ambiguity of human activity: the camera claims to deliver truth but is essentially selective and partial; photography reveals and conceals the real; the photograph is an artificial mode of representation but claims to provide a `picture’ of life that can only be captured through the camera.

This ambiguous ontology of the image impacts upon both the act of image-making and the interpretive task of reading and understanding the image. With modern photography the viewer is constituted in a dual movement of separation (and alienation) and connectivity (and communality). Photographic engagement constitutes, so… show more.

I think that Brad has an amazing photographer's eye.

Using drones, he has created a unique book of photographs of swimming pools from above. This could have been a mundane subject, but in Brad’s hands, each photo is perfectly framed, sized, and cropped to reveal geometry you would not expect, reminiscent of a colorful abstract painting. What I like about his work is how he can look at a pool and find the perfect abstract detail: a sinuous curve, geometric lines, and rectangles, little bits of pool furniture, blue sparkling water combined in a way that no one else would have seen. 

I found this book to be fascinating and engaging. It focuses on photographers who have made their mark on album cover design and includes many examples, some of which I was aware of but many that were new to me.

I love photography and album cover art, and this book showcases the role that photography plays in album cover design as well as any book that I have read.

Even the most perfect pictures simply cannot do the canyon justice—none of mine ever have. But the photographic montages of Klett and Wolfe come close; fusing historical shots with contemporary ones they took at the same location, from the same angle, they manage to show what impresses me most in the grand gorge: its timelessness, how little the geology and even the vegetation changes over decades.

This really puts human life into perspective. The images in this coffee table book for the discerning are daring, whimsical, playful, and experimental, all of which are qualities that the best guides and canyoneers display.