into an easily digested visual record for the masses. Like Panzer, Gunthert’s contribution assesses the effects of visual literacy and the specific tools employed by media outlets to confer meaning. In his essay ‘The Ubiquitous Exhibition: Magazines, Museums, and the Reproducible Exhibition after World War II’, Oliver Lugon examines the Museum of Modern Art’s ‘multiples exhibitions’, discussing how these photographically reproduced exhibitions, produced by the institution’s Circulations Department, were formulated as a means of dissemination and contained no unique art objects. By focusing on the role photography played within these examples of display and the dematerialisation of the unique art object through photographic reproduction, Lugon situates the origin of these exhibitions in terms of mobility and properties inherent to the medium – widely disseminated, simultaneously experienced and mass reproduced. Lugon’s essay ultimately demonstrates how such exhibitions privileged efficient communication over aesthetic delight. The last section discusses the institutionalisation of photography as an art form by the museum. Nathalie Boulouch’s essay identifies the William Eggleston exhibition curated by John Szarkowski at the Museum of Modern Art in 1970 as a pivotal moment in colour photography’s elevation to art object. This show, representing colour photography’s legitimisation within the art world and the beginning of its ‘public life’ within the museum, is explored against colour photography’s past: its inclusion within the fields of commercial and vernacular photographies, and its cultural and critical reception prior to 1970. In ‘Indecisive Moments: Proliferation and the Passerby in Conceptual Photography’, Heather Diack considers how conceptual artists embraced and challenged the traditions of the unique art object through their strategic use of photography. For Diack, Acconci Following Piece (1969) – in which the artist documented himself following members of the public – and other projects centred on the street constitute an exploration of the private and public spheres of modern life. Diack contends that these artists viewed photography’s ability to disperse and multiply endlessly as a metaphor that mirrored ‘the transitory and unstable construction of subjectivity in public life’. Highlighting the intimacy of the vernacular object, the final essay discusses the snapshot’s move from the private to the public. In ‘Encounters in the Museum: The Experience of Photographic Objects’, Sophie Hackett employs Max Dean’s Album, A Public Project (2012) as a case study to explore the ways in which non-traditional objects such as British ship models and Tsimshian masks (among other oddities) enter into, expand and transform the encyclopaedic museum’s traditional approach to collecting. This hardback book is richly illustrated with unique source materials as demonstrated by each detailed caption. One of the only drawbacks of The ‘Public’ Life of Photographs is its focus on the reception of the West, with most of its authors hailing from North America and France. Subsequent volumes would greatly benefit from a more global-minded approach.

中文翻译：

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19 世纪的摄影和其他媒体

成为大众容易消化的视觉记录。与 Panzer 一样，Gunthert 的贡献评估了视觉素养的影响以及媒体机构用来赋予意义的特定工具。在他的文章“无处不在的展览：二战后的杂志、博物馆和可复制的展览”中，奥利弗·卢根 (Oliver Lugon) 考察了现代艺术博物馆的“多重展览”，讨论了这些由该机构的流通部制作的摄影复制展览如何被制定为传播手段，不包含独特的艺术对象。通过关注摄影在这些展示示例中所扮演的角色，以及通过摄影复制使独特的艺术品非物质化，Lugon 根据媒介固有的流动性和特性来定位这些展览的起源——广泛传播、同时体验和大规模复制。Lugon 的文章最终展示了此类展览如何优先于高效交流而不是审美愉悦。最后一部分讨论了博物馆将摄影作为一种艺术形式的制度化。Nathalie Boulouch 的文章将 1970 年由 John Szarkowski 在现代艺术博物馆策划的 William Eggleston 展览确定为彩色摄影提升为艺术品的关键时刻。这场展览代表了彩色摄影在艺术界的合法化及其在博物馆内“公共生活”的开始，探讨了彩色摄影的过去：它被纳入商业和本土摄影领域，及其在 1970 年之前的文化和批判性接受。在“优柔寡断的时刻：概念摄影中的增殖和过客”中，Heather Diack 考虑了概念艺术家如何通过他们对摄影的战略性使用来拥抱和挑战独特艺术品的传统。对于迪亚克来说，Acconci Follow Piece (1969)——艺术家记录了自己跟随公众——以及其他以街道为中心的项目，构成了对现代生活的私人和公共领域的探索。迪亚克认为，这些艺术家将摄影的无限扩散和繁殖能力视为反映“公共生活中主体性的短暂和不稳定建构”的隐喻。最后一篇文章强调了本土物体的亲密关系，讨论了快照从私人到公共的转变。在“博物馆邂逅：摄影对象的体验”中，索菲·哈克特以马克斯·迪恩的专辑，一个公共项目（2012）作为案例研究，探索非传统物品，如英国船模和 Tsimshian 面具（除了其他奇怪的东西）进入、扩展和改变百科全书式博物馆的传统收藏方式。这本精装书用独特的源材料进行了丰富的插图，每个详细的标题都说明了这一点。《摄影的公共生活》唯一的缺点之一是它关注西方的接受程度，其大部分作者来自北美和法国。后续卷将极大地受益于更具全球意识的方法。一个公共项目（2012 年）作为案例研究，探索非传统物品，如英国船模和 Tsimshian 面具（以及其他奇怪的东西）进入、扩展和改变百科全书博物馆的传统收藏方法的方式。这本精装书用独特的源材料进行了丰富的插图，每个详细的标题都说明了这一点。《摄影的公共生活》唯一的缺点之一是它关注西方的接受程度，其大部分作者来自北美和法国。后续卷将极大地受益于更具全球意识的方法。一个公共项目（2012 年）作为案例研究，探索非传统物品，如英国船模和 Tsimshian 面具（以及其他奇怪的东西）进入、扩展和改变百科全书博物馆的传统收藏方法的方式。这本精装书用独特的源材料进行了丰富的插图，每个详细的标题都说明了这一点。《摄影的公共生活》唯一的缺点之一是它关注西方的接受程度，其大部分作者来自北美和法国。后续卷将极大地受益于更具全球意识的方法。这本精装书用独特的源材料进行了丰富的插图，每个详细的标题都说明了这一点。《摄影的公共生活》唯一的缺点之一是它关注西方的接受程度，其大部分作者来自北美和法国。后续卷将极大地受益于更具全球意识的方法。这本精装书用独特的源材料进行了丰富的插图，每个详细的标题都说明了这一点。《摄影的公共生活》唯一的缺点之一是它关注西方的接受程度，其大部分作者来自北美和法国。后续卷将极大地受益于更具全球意识的方法。