Documentary across disciplines, edited by Erika Balsom and Hila Peleg

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Notes

1 With regard to Rosalind Krauss, “Sculpture in the Expanded Field,” in Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (Seattle: Bay Press, 1983), 31–42.

2 With regard to Giorgio Agamben, Potentialities: Collected Essays in Philosophy, trans. Daniel Roazen (Stanford: Stanford University Press, 1999).

3 For instance: T.J. Demos, The Migrant Image: The Art and Politics of Documentary during Global Crisis (Durham, NC: Duke University Press, 2013).

4 For an example of the former there is Julian Stallabrass, ed., Documentary (London: Whitechapel Gallery; Cambridge, MA: The MIT Press, 2013). The latter method is adopted by such thematic projects as Okwui Enwezor, Archive Fever: Uses of the Document in Contemporary Art, exhibition catalogue (New York: International Center of Photography, 2008), as well as by those projects that set their boundaries in terms of time frames, including this issue of Visual Resources.

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Notes on contributors

Jelena Stojković

JELENA STOJKOVIĆ is an independent art historian, writer and curator based in London. She teaches across Fine Art and Photography courses at the University of the Arts London (Camberwell and London College of Communication). Her book, Surrealism and Photography in 1930s Japan: The Impossible Avant-Garde, is forthcoming from I.B. Tauris in 2017.