ART 338 - History of Photography / Gao, Victoria

Founded and launched in 1972 by photographer and curator Nathan Lyons, Afterimage: The Journal of Media Arts and Cultural Criticism has served as an important voice in the media arts. The journal features unique, high-quality coverage of digital media, film, games, photography, television, video, and visual arts, as well as addresses important issues and debates within art history, media studies, visual and cultural studies, and related fields. In addition to in-depth feature articles, the journal publishes book and exhibition reviews as well as conference and festival reports.

The Art Bulletin publishes leading scholarship in the English language in all aspects of art history as practiced in the academy, museums, and other institutions. From its founding in 1913, the journal has published, through rigorous peer review, scholarly articles and critical reviews of the highest quality in all areas and periods of the history of art. Articles take a variety of methodological approaches, from the historical to the theoretical. In its mission as a journal of record, The Art Bulletin fosters an intensive engagement with intellectual developments and debates in contemporary art-historical practice. It is published four times a year: in March, June, September, and December.

Panorama is published twice a year, with past issues archived on the journal website. In addition to peer-reviewed feature articles, Panorama publishes the following editor-reviewed sections: In the Round, suites of scholarly articles on a common theme; Research Notes, shorter scholarly articles about research discoveries or developing projects; Colloquium, a section pairing short scholarly and polemical texts with responses from academics, curators, critics, and other interpreters of American art and visual culture; Digital Dialogues, reviews and reflections on the digital work that is impacting American art history; and Book and Exhibition Reviews. All content is available on our site immediately in full-text format for free without embargo. The University of Minnesota Libraries preserves the content of Panorama using standard methodologies and preservation technologies.

Philosophy of Photography is a peer-reviewed journal devoted to the scholarly understanding of photography. It is not committed to any one notion of photography nor, indeed, to any particular philosophical approach. The purpose of the journal is to provide a forum for debate on theoretical issues arising from the historical, political, cultural, scientific and critical matrix of ideas, practices and techniques that may be said to constitute photography as a multifaceted form. In a contemporary context remarkable for its diversity and rate of change, the conjunction of the terms 'philosophy' and 'photography' in the journal’s title is intended to act as a provocation to serious reflection on the ways in which existing and emergent photographic discourses might engage with and inform each other.

photographies aims to further develop the history and theory of photography, considering new frameworks for thinking and addressing questions arising from the present context of technological, economic, political and cultural change.

Aperture is required reading for everyone seriously interested in photography. Founded in 1952, each issue examines one theme explored in two distinct sections: Words, focused on the best writing surrounding contemporary photography, and Pictures, featuring immersive portfolios and artist projects.

BlackFlash Magazine is a platform for contemporary visual art. BlackFlash is dedicated to presenting critical opinions, urgent issues, and innovative ideas about divergent artistic practices from across Canada, the United States and beyond. Each issue includes feature articles, profiles, interviews, and artist projects from a dynamic selection of artists, writers, and curators. BlackFlash fosters a rich public engagement with image-based practices, such as photography, video, and painting as well as sound, performance and social practice by promoting energetic debate and showcasing diverse voices and communities (local, regional, national and international).

Photoworks champions photography for everyone. We are an international platform, global in reach, and have provided opportunities for artists and audiences since 1995. We do not have a physical venue, but our online channels are always open. Our programme brings new experiences to audiences and opens up new ways to encounter photography.