This book explores how photography and recorded music act as vehicles or catalysts in processes of remembering, and how they are regarded, treated, valued and drawn upon as resources connecting past and present in everyday life. It does so via two key concepts: vernacular memory and the mnemonic imagination.

The complicity of the image: photography at the intersection of police surveillance, corporate/state control and artificial intelligence How are images being utilized to gather data on our daily activities? With the development and advancement of artificial intelligence, there has been a radical change in the way surveillance systems capture, categorize and synthesize photographs. Mirror with a Memory explores the intersection between AI, photography and surveillance--its past, present and future--to underscore concerns about implicit bias, right to privacy and police monitoring embedded in corporate, military and law enforcement applications. Contributors include: Zach Blas, Simone Brown, Joy Buolamwini, Oliver Chanarin, Adrian Chen, Harun Farocki, Forensic Architecture, Lynn Hershman Leeson, Trevor Paglen, Martha Rosler and Martine Syms.

This book explores how photography and recorded music act as vehicles or catalysts in processes of remembering, and how they are regarded, treated, valued and drawn upon as resources connecting past and present in everyday life. It does so via two key concepts: vernacular memory and the mnemonic imagination.

As photography became an increasingly accessible medium in the twentieth century, the popularity of the photographic album exploded, yielding a wonderful range of objects made for varying purposesto memorialize, document (officially or unofficially), promote, or educate, and sometimes simply to channel creative energy. Photographic Memory: The Album in the Age of Photography traces the rise of the album from the turn of the century to the present day, showcasing some of the most important examples in the history of the medium, as collected by the Library of Congress. The albums that comprise Photographic Memory provide an immensely personal and idiosyncratic historical perspective through the many lenses of these unique objects. From an Alaskan expedition album of Edward Sheriff Curtiss early work, to Walker Evanss extended suite of images in study for Let Us Now Praise Famous Men, to a family album by Danny Lyon, this beautifully produced book provides an in-depth look at the history of photography through the handmade objects of some its most famous practitioners, much of which is previously unpublished. The book includes works by photographers and filmmakers such as F. Holland Day, Jim Goldberg, Dorothea Lange, Duane Michals, Leni Riefenstahl, and W. Eugene Smith alongside lesser-known, yet significant albums on subjects as varied as African American vaudeville, the 1915 Jerusalem locust plague, and the folkways of Spain. Each album, beautifully reproduced over numerous spreads, is accompanied by a detailed explanatory text. An insightful history of the album format is included, as well as an informative essay about caring for and restoring albums. At a time when the physical collection of photographs is becoming largely immaterial through digital means, Photographic Memory is a comprehensive illustrated history of a form of presentation that became an art form in itselfa history that has seen radical shifts in the role of handmade artists objects.

Photography possesses a powerful ability to bear witness, aid remembrance, shape, and even alter recollection. In Beyond Memory: Soviet Nonconformist Photography and Photo-Related Works of Art, the general editor, Diane Neumaier, and twenty-three contributors offer a rigorous examination of the medium's role in late Soviet unofficial art. Focusing on the period between the mid-1950s and the late 1980s, they explore artists' unusually inventive and resourceful uses of photography within a highly developed Soviet dissident culture. During this time, lack of high-quality photographic materials, complimented by tremendous creative impulses, prompted artists to explore experimental photo-processes such as camera and darkroom manipulations, photomontage, and hand-coloring. Photography also took on a provocative array of forms including photo installation, artist-made samizdat (self-published) books, photo-realist painting, and many other surprising applications of the flexible medium. Beyond Memory shows how innovative conceptual moves and approaches to form and content-echoes of Soviet society's coded communication and a Russian sense of absurdity-were common in the Soviet cultural underground. Collectively, the works in this anthology demonstrate how late-Soviet artists employed irony and invention to make positive use of difficult circumstances. In the process, the volume illuminates the multiple characters of photography itself and highlights the leading role that the medium has come to play in the international art world today. Beyond Memory stands on its own as a rigorous examination of photography's place in late Soviet unofficial art, while also serving as a supplement to the traveling exhibition of the same title.

This National Book Award finalist is a revealing and beautifully written memoir and family history from acclaimed photographer Sally Mann. In this groundbreaking book, a unique interplay of narrative and image, Mann's preoccupation with family, race, mortality, and the storied landscape of the American South are revealed as almost genetically predetermined, written into her DNA by the family history that precedes her. Sorting through boxes of family papers and yellowed photographs she finds more than she bargained for: "deceit and scandal, alcohol, domestic abuse, car crashes, bogeymen, clandestine affairs, dearly loved and disputed family land . . . racial complications, vast sums of money made and lost, the return of the prodigal son, and maybe even bloody murder." In lyrical prose and startlingly revealing photographs, she crafts a totally original form of personal history that has the page-turning drama of a great novel but is firmly rooted in the fertile soil of her own life.

A significant contribution to our understanding of early twentieth century visual culture and an exploration of how photography shaped the ways in which the great archaeologist of the human mind saw and thought about the world.