100 books like Camera Lucida

On Photography is Sontag’s attempt to develop the thought of Barthes, Benjamin, and others and apply the resultant perspective to the critical understanding of the fundamental role of photography in modern life. The book is constructed as a series of interconnected essays, each of which explores the moral and dialectical character of photographic interventions. Photography embodies the moral ambiguity of human activity: the camera claims to deliver truth but is essentially selective and partial; photography reveals and conceals the real; the photograph is an artificial mode of representation but claims to provide a `picture’ of life that can only be captured through the camera.

This ambiguous ontology of the image impacts upon both the act of image-making and the interpretive task of reading and understanding the image. With modern photography the viewer is constituted in a dual movement of separation (and alienation) and connectivity (and communality). Photographic engagement constitutes, so… show more.

This book was introduced on the first day of art school. Then, it was reintroduced and repeated by each professor for the duration of my education. As such, it's fair to say that it's an enduring force within academic circles. 

The book touches on major points essential for any informed artist and the need for modern artists to subvert our viewers' hidden biases. It eloquently teaches artists to dive beneath the surface of a work to understand the unseen, the context, and the subtext. Ways of Seeing skillfully inspires a new lens through which to view the world and urges its readers to peel back the layers of meaning from even the most minimal artworks.

For me and so many other artists, this book was an awakening and is one that I turn back to often and am doomed to cite for eternity. It's a transformative journey that challenges and… show more.

Virginia Woolf knew – she insisted – that a life spent maintaining a house, throwing dinner parties, and taking children on sailing expeditions was not necessarily, not categorically, a trivial life.

Even a modest, domestic life is still, for the person living it, an epic journey, however ordinary it might appear to the outside observer. Woolf refused to dismiss lives that most male writers ignore or even denigrate.

And you can get lost in her magnificent sentences; no one puts words together as beautifully as Virginia Woolf.

I was blown away by this book, which beautifully captures the fragmented, jarring experience of being “Extremely Online.” The reader sees the world through the protagonist’s eyes as she scrolls, argues with strangers, and experiences the constant pressure to generate hot takes—especially once an absurd tweet propels her to celebrity.

The book conveys the tension between online interactions (ephemeral, yes, but not necessarily lacking in genuine human emotion) and serious offline issues, like the family tragedy that finally pulls the main character away from the digital fray. I laughed out loud at the over-sharing and performative virtue signaling in the Reddit-like Portal. Haven’t we all encountered “that guy” online?

Andrew O’Hagan is a contemporary master of the literary essay, and in this book we have three long non-fiction pieces linked by his investigations into the online world. O’Hagan was the ghostwriter for Julian Assange’s doomed autobiography, and here he tells the story of this adventure – it’s a publisher’s nightmare but a dream for the psychoanalyst, as the line between Assange’s invented self and the reality of his life begins to collapse. The other two essays also explore mercurial identities online, with a portrait of the rumored, shadowy inventor of Bitcoin, and the brief life of a Frankensteinian amalgam of O’Hagan’s own making – a cyber-persona who has an address, a credit card, and who can buy drugs on the Dark Web. O’Hagan even manages to meet his creation’s mother.  

I go to Ben Lerner’s writing for the shimmering atmospheres of his fictional universes. 10:04 is set in contemporary New York City and follows the narrator-writer through his urban routines. But between his health scares, relationship worries, and professional commitments, the novel thrums with a strange, uneasy beat as the narrator questions the fabric of modern life in a large city. He feels the sublime abundance of the commodities that surround him, whose very abundance is precarious. The book meditates on the fragility of the global supply chains that bring cans of ground coffee onto supermarket shelves and into our baskets. There is also a superstorm approaching, which threatens the city’s power. Lerner is wonderful on twenty-first-century, first-world malaise.

This is the work of a cultural sage with deep wisdom to offer on how political issues affect culture, especially literature.

It illuminated to me how significant cultural artifacts of high modernity like the short story as a phenomenon, the work of Charles Baudelaire in relation to the city, the plays of Bertolt Brecht, and the stories of Franz Kafka - that I had once been uncomfortable with because of their density - mattered and needed to be engaged with to make sense of the intellectual currents of the age.

To take my place among a culturally aware Benjamin is a writer I could not sidestep.  

Crary’s work provides a theoretical and empirically informed synthesis of the work of theorists like Berger, Debord, Baudrillard, Barthes, and Sontag. Like these earlier writers, the technological transformations of visual culture are at the heart of the social transformations of the modern world. To understand modernity is thus first to make sense of its visual logics, procedures, and practices. This general argument allowed the author to enter the granular historical details of how seeing and 'observation’ have become essential to the concerns of modern life. What he calls 'techniques of the observer’ are in fact the core sensory apparatus that has helped to shape the institutions and practices of modern life.

What can be visualized is correlated to the technical affordances and historical development of representational practices. This makes technologies of the visual central to social analysis. Some of the most powerful drivers of modern life are thus linked to… show more.

In the 1940s, a young American woman named Mariana Yampolsky came to Mexico to study and never looked back. Throughout the 1960s, she wandered around the country taking shots of the rural and indigenous people she met. Her lens conveyed the poorest aspects of Mexican culture with empathy and artistry that no other photographers of the time demonstrated. Inexplicably, for all its vast and varied geography, ethnicities, and societal classes, rivaling even China in terms of its photogenic diversity, there are very few photography books on Mexico, making The Edge of Time a timeless literary benchmark.

As a photography critic for The New York Times, Grundberg was present when a generation of artists began to take apart the photographic image and transform its meaning in society. He wrote about post-modern practice in the present tense, as it was happening. This book is a collection of his reviews and essays from the 1980s when the medium was at a crossroads; the factual veracity of photography was enduring challenges at every turn and the valuation of the photograph as an art object was under critical scrutiny.