Bibliographie
Alcobia-Murphy Shane, “‘I Could Not Tell’: The Representation of Memory and Trauma in Northern Irish Culture”, in Catherine Rees (ed.), Changes in Contemporary Ireland: Texts and Contexts, Newcastle upon Tyne: Cambridge Scholars Publishing, 2013, 51–66.
Bataille Georges, “Abjection et les formes misérables”, in Georges Bataille, Œuvres complètes de G. Bataille, vol. 2 Écrits posthumes 1922-1940, Paris: Gallimard, 1970.
Carullo Valeria, “‘The Great Publicist of Modern Building’: Photography and Architecture in the Inter-war Years”, in Graham Cairns (ed.), Visioning Technologies: The Architecture of Sight, New York: Routledge, 2017, 87-104.
Colls Robert, Identity of England, Oxford: Oxford UP, 2002.
Cotton Charlotte, The Photograph as Contemporary Art, London: Thames & Hudson, 2004.
Crane Nicholas, The Making of the British Landscape: From the Ice Age to the Present, London: Weidenfeld & Nicolson, 2017.
Geijerstam Jan af, “Photography and Images Resources”, in James Douet (ed.) Industrial Heritage Re-tooled: The TICCIH Guide to Industrial Heritage Conservation, London and New York: Routledge, 2012, 77–84.
Jäger Jens, “Picturing Nations: Landscape Photography and National Identity in Britain and Germany in the Mid-Nineteenth Century”, in Joan M. Schwartz, James R. Ryan (eds.), Picturing Place: Photography and the Geographical Imagination, London and New York: I.B. Tauris, 2006, 117-140.
Kalliney Peter J., Cities of Affluence and Anger: A Literary Geography of Modern Englishness, Charlottesville and London: U of Virginia P, 2007.
Kippin John, “Post-Post-Industrial: Some Thoughts on Futureland, Photography and Landscape”, in Gwen Heeney (ed.), The Post-Industrial Landscape as Site for Creative Practice: Material Memory, Newcastle upon Tyne: Cambridge Scholars Publishing, 2017, 37-44.
Klingender Francis Donal, Art and the Industrial Revolution, London: Noel Carrington, 1947.
Kohl Stephan, “The ‘North’ of ‘England’: A Paradox?, in Christoph Ehland (ed.), Thinking Northern: Textures of Identity in the North of England, Amsterdam, New York: Rodopi, 2007, 93-116.
Kristeva Julia, Powers of Horror: An Essay on Abjection, transl. Leon S. Roudiez, New York: Columbia UP, 1982.
Kumar Krishan, The Making of the English National Identity, Cambridge: Cambridge UP, 2003.
Light Alison, Forever England: Femininity, Literature and Conservatism between the Wars, London: Routledge, 1991.
Mellor David (ed.), Germany, the New Photography, 1927-33: Documents and Essays, London: Arts Council of Great Britain, 1978.
Pare Richard, “Roger Fenton: The Artist’s Eye”, in Gordon Baldwin, Malcolm Daniel, and Sarah Greenough (eds.), All the Mighty World: The Photographs of Roger Fenton, 1852-1860, New Haven and London: Yale UP, 2004, 221-230.
Parson Sara-Jayne, “Billingham, Richard”, in Lynne Warren (ed.), Encyclopedia of Twentieth Century Photography, New York and London: Routledge, 2006, 130-131.
Pinheiro Nuno, “Industrial Photography”, in John Hannavy (ed.), Encyclopedia of Nineteenth-Century Photography, New York and London: Routledge, 2008, 741-744.
Polte Maren, “Becher, Bernd and Hilla” in Lynne Warren (ed.), Encyclopedia of Twentieth Century Photography, New York and London: Routledge, 2006, 111-113.
Price Uvedale, An Essay on the Picturesque, as Compared with the Sublime and the Beautiful; and, on the Use of Studying Pictures, for the Purpose of improving Real Landscape, London: J. Robson, 1794.
Rosler Martha, “Post-Documentary, Post-Photography?”, in Martha Rosler, Decoys and Disruption: Selected Writings, 1975–2001, Cambridge, MA: The MIT Press, 2004, 207-244.
Spencer Stephanie, Francis Bedford, Landscape Photography and Nineteenth-Century British Culture: The Artist as Entrepreneur, Farnham: Ashgate, 2011.
Storm Anna, Post-Industrial Landscape Scars, New York: Palgrave, 2014.
Tarantino Michael (ed.), Richard Billingham, exhibition catalogue, Birmingham: Ikon Gallery, 2000.
Taylor John, A Dream of England: Landscape, Photography, and the Tourist’s Imagination, Manchester and New York: Manchester UP, 1994.
Thompson Ian, “After Coal: Reclamation and Erasure in the Great North Coalfield”, in Gwen Heeney (ed.), The Post-Industrial Landscape as Site for Creative Practice: Material Memory, Newcastle upon Tyne: Cambridge Scholars Publishing, 2017, 27-36.
Warner Marien Mary, Photography: A Cultural History, London: Laurence King Publishing, 2006.
Wells Liz, Land Matters: Landscape Photography, Culture and Identity, New York: I.B. Tauris, 2011.
Wiener Martin, English Culture and the Decline of the Industrial Spirit, 1850-1980, Cambridge and New York: Cambridge UP, 2004.
Williams Raymond, The Country and the City, Oxford and New York: Oxford UP, 1975.
Wojno Kiefer Geraldine, “Industrial Photography”, in Lynne Warren (ed.), Encyclopedia of Twentieth Century Photography, New York and London: Routledge, 2006, 781-785.
Wright Patrick, Living in an Old Country, Oxford: Oxford UP, 2009.
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Notes
Martin J. Wiener, English Culture and the Decline of the Industrial Spirit, 1850-1980, Cambridge and New York: Cambridge UP, 2004. Wiener discusses this process of marginalisation in terms of the dominance of the “Southern” over the “Northern” metaphor.
On how the “industrial imperial project” and the expansion of the British Empire allowed for the English to identify with an enterprise larger than their nation and, consequently, to treat Englishness as identical with Britishness. Krishan Kumar, The Making of the English National Identity, Cambridge: Cambridge UP, 2003, 172-174.
On the long-term effects of this divide see: Mark Billinge, Alan R.H. Baker (eds.), Geographies of England. The North-South Divide, Material and Imagined, Cambridge: Cambridge UP, 2004, and Stephan Kohl, “The ‘North’ of ‘England’: A Paradox?, in Christoph Ehland (ed.), Thinking Northern: Textures of Identity in the North of England, Amsterdam, New York: Rodopi, 2007, 93-116.
Raymond Williams, The Country and the City, Oxford and New York: Oxford UP, 1975, 12-34.
Peter J. Kalliney, Cities of Affluence and Anger: A Literary Geography of Modern Englishness, Charlottesville and London: U of Virginia P, 2007, 36.
As Nicholas Crane informs: “By 1913, over 90 per cent of the British merchant tonnage was being powered by steam […]. Ports boomed while farms went bust. […] Between 1861 and 1901, the total number of male labourers in the countryside of England and Wales fell by over 40 per cent. By 1901, agriculture accounted for only 6 per cent of the national income, down from 20 per cent fifty years earlier.” Nicholas Crane, The Making of the British Landscape: From the Ice Age to the Present, London: Weidenfeld & Nicolson, 2017, 455.
Among the exceptions are landscape studies in topographical and Romantic tradition, e.g. by William Turner, John Sell Cotman, Philippe de Loutherbourg, William Wyld, as well as works by Joseph Wright of Derby.
Richard Pare, “Roger Fenton: The Artist’s Eye”, in Gordon Baldwin, Malcolm Daniel, and Sarah Greenough (eds.), All the Mighty World: The Photographs of Roger Fenton, 1852–1860, New Haven and London: Yale UP, 2004, 221.
Stephanie Spencer, Francis Bedford, Landscape Photography and Nineteenth-Century British Culture: The Artist as Entrepreneur, Farnham: Ashgate, 2011, 6.
Alison Light, Forever England: Femininity, Literature and Conservatism between the Wars, London: Routledge, 1991, 8.
John Taylor, A Dream of England: Landscape, Photography, and the Tourist’s Imagination, Manchester and New York: Manchester UP, 1994, 126. See also: Jens Jäger, “Picturing Nations: Landscape Photography and National Identity in Britain and Germany in the Mid-Nineteenth Century”, in Joan M. Schwartz, James R. Ryan (eds.), Picturing Place: Photography and the Geographical Imagination, London and New York: I.B. Tauris, 2006, 117-140, where the author argues that “the picturesque,” as an aesthetic model for photographic picturing of the landscape, helped form and perpetuate the link between landscape and national identity in Britain.
Jens Jäger, “Picturing Nations: Landscape Photography and National Identity in Britain and Germany in the Mid-Nineteenth Century”, in Joan M. Schwartz, James R. Ryan (eds.), Picturing Place: Photography and the Geographical Imagination, London and New York: I.B. Tauris, 2006, 119.
Mary Warner Marien, Photography: A Cultural History, London: Laurence King Publishing, 2006, 2.
Francis Donal Klingender, Art and the Industrial Revolution, London: Noel Carrington, 1947, 84.
Signs of industrialisation are also incorporated into the aesthetics of the Sublime, for instance by William Turner and Philip James de Loutherbourg. On the “industrial sublime” and modern understandings of the sublime see: David E. Nye, American Technological Sublime, Cambridge, MA, London: The MIT Press, 1994.
Richard Pare, “Roger Fenton”, op. cit, 261.
On the function of research on industrial photography for industrial heritage preservation see: Jan af Geijerstam, “Photography and Images Resources”, in James Douet (ed.) Industrial Heritage Re-tooled: The TICCIH Guide to Industrial Heritage Conservation, London and New York: Routledge, 2012, 77-84.
Nuno Pinheiro, “Industrial Photography”, in John Hannavy (ed.), Encyclopedia of Nineteenth-Century Photography, New York and London: Routledge, 2008, 741.
Ibidem.
John Taylor, A Dream of England, op. cit., 42.
For more on Neue Sachlichkeit photography see: David Mellor (ed.), Germany, the New Photography, 1927-33: Documents and Essays, London: Arts Council of Great Britain 1978; Sergiusz Michalski, New Objectivity: Paiting, Graphic Art and Photography in Weimar Germany 1919–1933, Köln: Taschen, 2003, 180-193.
Valeria Carullo, “‘The Great Publicist of Modern Building’: Photography and Architecture in the Inter-war Years”, in Graham Cairns (ed.), Visioning Technologies: The Architecture of Sight, New York: Routledge, 2017, 91.
More on the Bechers’ practice in: Susanne Lange: Bernd and Hilla Becher: Life and Work, Cambridge, MA: The MIT Press, 2007; Susanne Lange, Die industriefotografien von Bernd und Hilla Becher: Eine Monographische Untersuchung vor dem Hintergrund entwicklungsgeschichtlicher Zusammenhänge, Munchen: Schrimer/Mosel, 1999.
Bernd Becher, Hilla Becher, Kunst-Zeitung, no. 2 (January) 1969; quoted in: Maren Polte, “Becher, Bernd and Hilla” in Lynne Warren (ed.), Encyclopedia of Twentieth Century Photography, New York and London: Routledge, 2006, 112.
Liz Wells, Land Matters: Landscape Photography, Culture and Identity, New York: I.B. Tauris, 2011, 170.
On the role of ugliness and deformity in the picturesque see: Uvedale Price, An Essay on the Picturesque, as Compared with the Sublime and the Beautiful; and, on the Use of Studying Pictures, for the Purpose of improving Real Landscape, London: J. Robson, 1794, 161-180.
Shane Alcobia-Murphy, “‘I Could Not Tell’: The Representation of Memory and Trauma in Northern Irish Culture”, in Catherine Rees (ed.), Changes in Contemporary Ireland: Texts and Contexts, Newcastle upon Tyne: Cambridge Scholars Publishing, 2013, 55.
Davies’ project is discussed in the context of the decline of coal industry in: Gabriel N. Gee, Art in the North of England, 1979-2008, Oxon and New York: Routledge, 2017, [e-book, n.p.].
Ian Thompson, “After Coal: Reclamation and Erasure in the Great North Coalfield”, in Gwen Heeney (ed.), The Post-Industrial Landscape as Site for Creative Practice: Material Memory, Newcastle upon Tyne: Cambridge Scholars Publishing, 2017, 32.
Patrick Wright, Living in an Old Country, Oxford: Oxford UP, 2009, 66.
Reasons for that include aspects such as large size, dilapidated condition, pollution, and others. See: Anna Storm, Post-Industrial Landscape Scars, New York: Pelgrave, 2014 [e-book, n.p.].
Ian Thompson, “After Coal”, op. cit., 32.
John Kippin, “Post-Post-Industrial: Some Thoughts on Futureland, Photography and Landscape”, in Gwen Heeney (ed.), The Post-Industrial Landscape as Site for Creative Practice: Material Memory, Newcastle upon Tyne: Cambridge Scholars Publishing, 2017, 44.
Ibidem, 39.
Ibid.
Ibid.
Ibid.
More on the role of photography in contemporary art in: Charlotte Cotton, The Photograph as Contemporary Art, London: Thames & Hudson, 2004, 21-48.
His works were featured at the famous Sensation exhibition of the Saatchi collection of YBAs, organised at the Royal Academy of Arts in London in 1997.
For instance, in her text on post-documentary photography, Martha Rosler does not so much ignore but dismiss “familial” connections between Billingham and his subjects as rationale for making “frightful” pictures that the public enjoys. See: Martha Rosler, “Post-Documentary, Post-Photography?”, in Martha Rosler, Decoys and Disruption: Selected Writings, 1975–2001, Cambridge, MA: The MIT Press, 2004, 244. On ethical issue surrounding the rise of postdocumentary photography see: John Roberts, Photography and Its Violations, New York: Columbia UP, 2014, 23-90.
Richard Billingham, exhibition catalogue, Michael Tarantino (ed.), Ikon Gallery, Birmingham, 2000.
Sara-Jayne Parson, “Billingham, Richard”, in Lynne Warren (ed.), Encyclopedia of Twentieth Century Photography, New York and London: Routledge, 2006, 131.
On the notion of “the abject” see: Julia Kristeva, Powers of Horror: An Essay on Abjection, transl. Leon S. Roudiez, New York: Columbia UP, 1982. An early and comprehensive discussion of “abject art” in: Hal Foster, The Return of the Real: the Avant-Garde at the End of the Century, Cambridge, MA and London: MIT Press, 1996, 149-159. For Kristeva’s discussion of “the abject” in the context of visual arts see: Charles Penwarden, “Of Word and Flesh: An Interview with Julia Kristeva”, in Stuart Morgan and Frances Morris (eds.), Rites of Passage: Art for the End of the Century, London: Tate Gallery Publications, 1995, 21-27. For a more recent discussion of the abject in the visual arts see: Rina Arya, Abjection and Representation: An Exploration of Abjection in the Visual Arts, Film and Literature, Basingstoke: Palgrave Macmillan, 2014.
Georges Batailles, “Abjection et les formes misérables”, in Georges Bataille, Œuvres completes de G. Bataille, vol. 2 Écrits posthumes 1922-1940, Paris: Gallimard, 1970.
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