Books by Eugenie Shinkle
Fashion photography reflects not only the desires and fantasies of the consumer, but also the cha... more Fashion photography reflects not only the desires and fantasies of the consumer, but also the changing face of cultural values in society as a whole. Fashion Photography: The Story in 180 Pictures charts the evolution and glamour of the genre. Featuring names from classic photography alongside those from more recent generations, its draws upon myriad archives and sources to provide a comprehensive and accessible exploration of the subject.
Fashion Photography: The Story in 180 Pictures charts how fashion photography flourished with the rise of illustrated magazines, how influential art directors collaborated with photographers to shape epochs of style, and how generations of fashion photographers have built upon one another to expand this genre over the past 150 years.
Through 180 key images, Fashion Photography: The Story in 180 Pictures surveys the important figures and movements to provide an essential primer to fashion photography.
edited by Davide Deriu, Krystallia Kamvasinou, and Eugenie Shinkle. London: Ashgate Press, 2014.
Papers by Eugenie Shinkle
Doctoral thesis, UCL (University College London)., 2003
The Lancet, Nov 1, 2000
Aesthetic double-sided teapot, patented 1881 Octagonal table, bamboo, circa 1880 Geffrye Museum C... more Aesthetic double-sided teapot, patented 1881 Octagonal table, bamboo, circa 1880 Geffrye Museum Courtesy of Museum of Worcester Porcelain
Harvard Design Magazine: architecture, landscape architecture, urban design and planning, 2016
edited by Davide Deriu, Krystallia Kamvasinou, and Eugenie Shinkle. London: Ashgate Press, 2014.
History of Photography, 2017
George Shaw’s paintings are frequently described as straightforward accounts of anomie and social... more George Shaw’s paintings are frequently described as straightforward accounts of anomie and social alienation; his subject matter the shoddy worker’s housing of Tile Hill, the council estate that he grew up in, and the slow dereliction of many British council estates in the present day. But Tile Hill is not a typical council estate, and Shaw’s restive, atmospheric paintings – poised between Romanticism and brutal realism, between nostalgia and critique – are not typical portrayals of disaffected suburban life. All of Shaw’s paintings of Tile Hill are based on photographs. His archive comprises over 100,000 digital and analogue images which serve as reference points for his paintings. Constructed as composites of numerous distinct images, Shaw's paintings reproduce the camera’s expanded field of vision and its homogeneous, ordered space. This objective gaze – the camera’s impartial vision masquerading as that of the eye – is remarkably seductive, and it has often overdetermined th...
In 1955, in a special issue of the English monthly magazine Architectural Review (AR), writer Ian... more In 1955, in a special issue of the English monthly magazine Architectural Review (AR), writer Ian Nairn coined the term ‘subtopia’ to describe the anodyne uniformity of suburban development and the isolationist lifestyle that it represented. The visual emblem of this critique – used widely by many of Nairn’s contemporaries in shorter features in the AR, but foregrounded in this issue – was a distinctive kind of image of the suburban landscape in which the photographic foreground was given over almost entirely to the asphalted surface of the road. Nairn’s photographs, and those of many of his contemporaries at AR, follow a strikingly consistent formula: the bottom half of the image an empty expanse of tarmac, with a scattering of dwellings and a blank sky above. Twenty years later, on the other side of the Atlantic Ocean, the New Topographics exhibition brought public (and later, worldwide) attention to a group of photographers producing pictures that drew on a remarkably similar idi...
Art Journal, 2020
Microsoft's Flight Simulator 1.0, first released in late 1982, was revolutionary for its time. Ad... more Microsoft's Flight Simulator 1.0, first released in late 1982, was revolutionary for its time. Advertisements made the bold claim that "if flying your IBM PC got any more realistic, you'd need a license." 1 It was not just FS1's accurate instrumentation that impressed users but also its innovative 3D color display graphics. From the cockpit the would-be pilot enjoyed spectacular views over the surrounding landscape: "[the] ground is green, water blue, sky light blue, and clouds white and gray." 2 Although FS1 would not necessarily be described as realistic by today's standards, realism in video games remains closely linked to the naturalistic representation of landscape. Realism can be understood in different ways. Michael A. Shapiro, Jorge Peña-Herborn, and Jeffrey T. Hancock distinguish between "sensory" realism-highresolution, photorealistic graphics and real-time physics phenomena that look, sound, and behave like the world we experience outside the game-and nonsensory cues, such as believable storylines and empathetic characters. 3 Some believe that the latter qualities have a greater bearing on perceived realism than sensory qualities. Writing in 2004, Alexander R. Galloway set realistic representation, what he called "realistic-ness," apart from social realism, or the relationship between the game and the context in which it is played. The former, as Galloway argues, is "important, to be sure, but the more realistic-ness takes hold in gaming the more removed from gaming it actually becomes, relegated instead to simulation or modelling." 4 Realism, as Galloway and others understand it, has to do with the way that the game's narrative bleeds into the world beyond. In fact, as I will argue, realistic graphics and physics phenomena are equally important and no more confined within the boundaries of a game than its ostensible social effects. Landscape is much more difficult to model than architecture or interiors, and it almost always provides the benchmark for graphic realism in video games. Rudimentary as it is, the landscape in FS1-ground, water, and sky arrayed in a convincing three-dimensional space-shares the same basic elements as more recent games praised for their realism, such as Metro Exodus, Alan Wake, and Assassin's Creed. Computer graphics have evolved significantly in the years since FS1 appeared, but many of the qualities that define graphic realism today-visual detail, dynamic lighting and weather effects, and particle effects such as fire, smoke, and mistare still associated with the appearance and behavior of "natural" assets. Nature, for the modern imagination, is not an external entity with an independent existence but a construct that can only be understood in context. Here View from the cockpit with scenery, from Flight Simulator 1.0 (Microsoft, 1982), video game (screenshot from Wikipedia, s.v. "History of Microsoft Flight Simulator"; published under fair use)
The Journal of Architecture, 2019
The 1975 New Topographics exhibition has been inscribed into the history of photography as a star... more The 1975 New Topographics exhibition has been inscribed into the history of photography as a starting point to which nearly all visually cognate practices can be traced back. This held back more subtle and nuanced readings of much English and European work of the same era, particularly in the English-language press. Set in a more extended historical and geographical context, the work exhibited in New Topographics can be understood as part of a wider process of photographic exploration that took place alongside shifting patterns of production and consumption that transformed the global landscape in the decades following World War II. The exhibition also set out a specific position regarding the nature of topographic photography itself. Although New Topographics did not take an explicitly critical stance visa -vis landscape, one of its most enduring legacies has been the emergence of a 'new topographics' aesthetic that is understood as critically engaged simply by virtue of its distanced, deadpan style. To argue that particular photographers work in the topographic mode is thus to overlook the socio-political and geographical specificities of the places they represent, in favour of formal similarities. This paper examines 2 Gabriele Basilico's first project, Milano. Ritratti di fabbriche (1978-80) [Milan. Portraits of factories], through the photographs themselves, the context out of which they emerged, their presentation in book form, and Basilico's own approach to the environments in which he photographed. I argue that Milano. Ritratti di fabbriche shares less than we might assume with the New Topographics work. Rather, it embodies a way of understanding and representing space as topological: heterogeneous and fluid, composed of multiple and often contradictory objects, processes and agents.
Uploads
Books by Eugenie Shinkle
Fashion Photography: The Story in 180 Pictures charts how fashion photography flourished with the rise of illustrated magazines, how influential art directors collaborated with photographers to shape epochs of style, and how generations of fashion photographers have built upon one another to expand this genre over the past 150 years.
Through 180 key images, Fashion Photography: The Story in 180 Pictures surveys the important figures and movements to provide an essential primer to fashion photography.
Papers by Eugenie Shinkle
Fashion Photography: The Story in 180 Pictures charts how fashion photography flourished with the rise of illustrated magazines, how influential art directors collaborated with photographers to shape epochs of style, and how generations of fashion photographers have built upon one another to expand this genre over the past 150 years.
Through 180 key images, Fashion Photography: The Story in 180 Pictures surveys the important figures and movements to provide an essential primer to fashion photography.
This symposium will assert the importance of pose as both a creative practice and an emerging area of critical inquiry. It will bring together multi-disciplinary academics and practitioners to discuss and develop new ways of understanding pose and posing in a historical and contemporary context. We encourage proposals for papers that address pose from global and diverse perspectives. This event represents a potentially fruitful and exciting moment to bring these strands together to the benefit of researchers within practice and theory-based media, historians of dress, photography, art and film and allied disciplines.
The keynote lecture will be delivered by David Campany, internationally recognised writer and curator, and Reader in Photography at the University of Westminster.
will reflect on these questions from the perspectives of architecture, photography, art history, and Italian Studies. While focusing on the work of a singular figure, the seminar aims to address wider issues concerning the relationship between photography and the experience of urban space.