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 classic text juxtaposes contemporary popular media with well-known works of art, and in doing so lays bare the hidden, timeless motives behind art production and collecting.

The book combines short articles with photo “essays”, and it’s actually the images that supply the most convincing argument. To see a Playboy centrefold alongside a nude by Ingres, or a food advert next to a still life by a Dutch master, forcefully illustrates Berger’s central point: that art is, and always has been, tied closely to commerce, commodification, and possession.

In short, art sells things – whether experiences, pleasures, values, or a particular sense of self or way of life. As such, it is a servant of those who have the power and wealth to possess these things.

To the Lighthouse is Virginia Woolf’s most autobiographical novel.

Ostensibly set in Scotland, Woolf is describing her own childhood holidays in Talland House, St Ives Cornwall which gave her intense happiness. The story is of the Ramsay family and their friends (who stand in for Woolf’s family) on vacation.

Lily Briscoe, an artist is painting Mrs Ramsay’s portrait which Lily completes after Mrs Ramsay’s sudden death; and Lily has her ‘vision’. Beautifully evocative of Cornish landscape, Woolf captures the inner feelings of characters impressionistically and movingly.

I took Woolf’s Lily Briscoe as my heroine in my novel and depict her emotional journey in becoming a professional artist and solving the mystery of Mrs. Ramsay’s suspicious death. In 2022, after my four-year campaign, I unveiled a plaque to Woolf on Talland House, St Ives. Like Lily, I had my vision.

I’m just gonna say up front: some of you will hate this novel, so I’ll describe it as clearly as I can.

The narrator is a famous blogger who rose to international fame over a one-sentence post, after which she surrenders to a life lived online, described in poetic, incandescent, at times infuriatingly overwritten prose. That’s Part 1, which ends with a thudding fall to earth: a text from Mom saying Come home. Part Two is a switcheroo in both style and content, and that’s all I can tell you without wrecking the novel’s unexpected turn. 

I know what this sounds like—impenetrable show-offing, and at times it is—but it’s like nothing I’ve ever read and I can’t stop thinking about it. Don’t say I didn’t warn you.

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.

Like most of Benjamin’s essays and books, "The Work of Art" essay is a dialectical study of the material conditions of the possibility of the work of art in the context of the conditions of modern reproduction techniques. Benjamin delineates a visual phenomenology of the essential features of the traditional artwork (its singularity in time and place, its disengagement from mundane experience, its provocation of thought and reflection, and its local `auratic’ presence). This frames the background to the question of the fate of art in an era where the singular work of art can be replicated and endlessly reproduced through technological means.

The artwork achieves a massive expansion in terms of audience reception and interpretation, but it is also stripped of its `aura’ and transgressive 'presence’. This analysis allows Benjamin to explore the impact of modernity upon structures of experience as a dialectical `loop’ that circles back upon the… show more.

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.

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.

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.