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Table of Contents

Introduction; Origins and Definitions; Conventions; Does Documentary Exist?; Photojournalism and Documentary: For, Against and Beyond; Active and Passive Spectators; The Limits of the Visible; Documentary Fictions; Commitment; Biographical Notes; Bibliography; Index; Acknowledgements.

About the Author

Julian Stallabrass teaches Art History at the Courtauld Institute of Art, London. His books include Gargantua: Manufactured Mass Culture (1996), High Art Lite: The Rise and Fall of Young British Art (1999) Internet Art: The Online Clash Between Culture and Commerce (2003) and Art Incorporated (2004).


"As an introduction to some of the most important thinking on documentary art ... the book is a clear success, both encouraging discourse and pointing the way to further reading." - Publishers Weekly "Julian Stallabrass' Documentary is an incisive collection - from Walter Benjamin's 'theses against snobs' to Annemarie and Emily Jacir's reports from Ramallah, the real comes flooding in to battle and dance alike with the weighty and sometimes ossified spirit of form. These aren't so much key texts from the archive of an established domain as they are documents of a living struggle between art as a distant, bleary demand that another world be possible and documentary as a painfully present and acute testimony to the world as it actually is. The great value of the collection, in other words, is not that of a dry, historical accounting but instead that it draws the reader into the drama of history itself." - Blake Stimson, Professor of Art History, University of California at Davis "From being hailed as the 'objective eye that cannot lie, the camera has come to be regarded as an instrument of propaganda. In Documentary Julian Stallabrass selects, contextualizes and re-views iconic features from the heyday of reportage to the 'documentary fictions' of the present. Seen through the eyes of both practitioners and commentators - from Elizabeth McCausland in 1939 to Marta Zarzycka in 2012 - the diversity of what comes between offers a contentious and comprehensive account of the medium of documentary." - Amanda Hopkinson, Writer and academic 'This latest addition to the stellar Documents of Contemporary Art series offers varied assessments of the role of documentary and documentary traditions within contemporary art ... As an introduction to some of the most important thinking on documentary art ... the book is a clear success, both encouraging discourse and pointing the way to further reading.' Publishers Weekly

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