This book challenges the status quo of the materiality of exhibited photographs, by considering examples from the early to mid-twentieth century, when photography’s place in the museum was not only continually questioned but also continually redefined.

By taking this historical approach, Laurie Taylor demonstrates the ways in which materiality (as opposed to image) was used to privilege the exhibited photograph as either an artwork or as non-art information. Consequently, the exhibited photograph is revealed, like its vernacular cousins, to be a social object whose material form, far from being supplemental, is instead integral and essential to the generation of meaning.

The book will be of interest to scholars working in art history, history of photography, theory of photography, curatorial studies and museum studies.

This book challenges the status quo of the materiality of exhibited photographs, by considering examples from the early to mid-twentieth century, when photography’s place in the museum was not only continually questioned but also continually redefined.

By taking this historical approach, Laurie Taylor demonstrates the ways in which materiality (as opposed to image) was used to privilege the exhibited photograph as either an artwork or as non-art information. Consequently, the exhibited photograph is revealed, like its vernacular cousins, to be a social object whose material form, far from being supplemental, is instead integral and essential to the generation of meaning.

The book will be of interest to scholars working in art history, history of photography, theory of photography, curatorial studies and museum studies.

This book challenges the status quo of the materiality of exhibited photographs, by considering examples from the early to mid-twentieth century, when photography’s place in the museum was not only continually questioned but also continually redefined.

By taking this historical approach, Laurie Taylor demonstrates the ways in which materiality (as opposed to image) was used to privilege the exhibited photograph as either an artwork or as non-art information. Consequently, the exhibited photograph is revealed, like its vernacular cousins, to be a social object whose material form, far from being supplemental, is instead integral and essential to the generation of meaning.

The book will be of interest to scholars working in art history, history of photography, theory of photography, curatorial studies and museum studies.