The Photograph as Contemporary Art (Fourth) (World of Art)

Book Review: The Photograph as Contemporary Art (Fourth Edition) by Charlotte Cotton

The Photograph as Contemporary Art (Fourth Edition) by Charlotte Cotton, published in 2020 by Thames & Hudson as part of the World of Art series, is a compelling and accessible exploration of photography’s role in contemporary art. Spanning 328 pages, this richly illustrated paperback (ISBN: 978-0-500-20448-1) updates Cotton’s influential 2004 original, tracing the evolution of photographic practices in the 21st century. Aimed at students, artists, and photography enthusiasts, the book examines how photographers push boundaries through conceptual, performative, and interdisciplinary approaches. With over 200 images and a lucid, engaging narrative, it’s both a scholarly resource and an inspiring dive into the art world’s cutting edge. While its academic tone and selective focus may not suit all readers, its insight into photography’s cultural significance makes it a must-read for those curious about the medium’s artistic potential in 2025.

What’s It About?

Charlotte Cotton, a curator and writer with deep roots in the art world, sets out to unpack how photography functions as contemporary art, distinct from its commercial or documentary roles. The fourth edition reflects the field’s rapid changes since the first edition, incorporating digital technologies, social media, and globalized art practices. Organized into eight thematic chapters, the book groups artists by their approaches rather than chronology or geography, emphasizing shared ideas over linear history. These chapters include:

• If This Is Art: Artists who stage or manipulate scenes to challenge photographic truth (e.g., Gregory Crewdson’s cinematic tableaux).

• Once Upon a Time: Narrative-driven works that blend storytelling with surreal or social commentary (e.g., Jeff Wall’s staged scenes).

• Deadpan: Cool, detached aesthetics that prioritize form over emotion (e.g., Hiroshi Sugimoto’s minimalist seascapes).

• Something and Nothing: Everyday objects transformed into art through photographic attention (e.g., Gabriel Orozco’s found compositions).

• Intimate Life: Personal, often autobiographical explorations of identity and relationships (e.g., Nan Goldin’s raw portraits).

• Moments in History: Photography engaging with political or historical narratives (e.g., Sophie Calle’s investigative projects).

• Revived and Remade: Reinterpreting photographic traditions, like portraiture or abstraction (e.g., Walead Beshty’s experimental processes).

• Physical and Material: Photography as a tactile, object-based practice (e.g., Adam Fuss’s photograms).

The book features over 200 color and black-and-white images, showcasing artists from Cindy Sherman to Zanele Muholi. Cotton’s introduction contextualizes photography’s shift from a marginal medium to a central force in contemporary art, driven by digital tools and global access. Each chapter weaves analysis with artist profiles, making complex ideas approachable without dumbing them down.

The Good Stuff

This book is a visual and intellectual feast. The images are stunning, printed with the high quality you’d expect from Thames & Hudson. From Taryn Simon’s meticulous archives to Wolfgang Tillmans’ eclectic installations, the photos aren’t just illustrations—they’re conversation starters. Cotton’s captions and commentary tie each image to its artistic intent, helping readers see how a seemingly simple photo, like a discarded shoe or a staged family portrait, becomes a profound statement. A Goodreads reviewer sums it up: “The images alone are worth the price, but Cotton’s insights make you rethink what photography can do.”

Cotton’s thematic structure is a stroke of genius. Instead of a dry timeline, she groups artists by their creative strategies, showing how diverse practices—from performative setups to abstract experiments—tackle similar questions about reality, identity, or society. This approach makes the book feel alive, like a snapshot of a dynamic art world. For example, the “Deadpan” chapter links Andreas Gursky’s massive, detached cityscapes with Rineke Dijkstra’s stark portraits, revealing how both use neutrality to provoke thought. It’s a clever way to connect dots without forcing a rigid narrative.

The writing is clear and engaging, striking a balance between scholarly rigor and accessibility. Cotton avoids jargon overload, making the book welcoming for newcomers while offering enough depth for art students or curators. Her passion for the medium shines through, especially when discussing artists like Sophie Calle, whose blend of photography and detective-like storytelling feels like a thriller. User reviews on Amazon praise this clarity, with one reader noting, “Cotton explains complex ideas in a way that’s inspiring, not intimidating. I felt like I was in a great museum talk.”

The fourth edition’s updates are a major strength. Cotton addresses how digital platforms, from Instagram to NFTs, have reshaped photography, blurring lines between fine art and social media. She also expands the global scope, featuring artists from Africa, Asia, and Latin America alongside Western heavyweights. Zanele Muholi’s powerful self-portraits, for instance, highlight photography’s role in activism and identity politics. This inclusivity reflects 2025’s art world, where diverse voices are central. A Thames & Hudson blurb emphasizes this, stating, “The new edition brings the story of photographic art right up to date, exploring themes of race, gender, and globalization.”

The book’s scope is another win. It covers a dizzying range of practices—staged photography, found objects, photograms, installations—showing how artists stretch the medium’s limits. Cotton doesn’t just focus on famous names; she spotlights emerging talents, making the book a discovery tool. For students or artists, it’s a goldmine of ideas, encouraging them to experiment beyond traditional snapshots. A Reddit thread on r/photography calls it “a crash course in thinking like an art photographer, not just a gear nerd.”

Where It Falls Short

For all its brilliance, The Photograph as Contemporary Art isn’t perfect. Its academic tone, while clear, can feel dry for casual readers expecting a more narrative-driven or personal take. Cotton prioritizes analysis over storytelling, which might leave some craving the emotional pull of, say, Art Wolfe’s The Art of the Photograph. One Amazon reviewer notes, “It’s more like a textbook than a fun read. Great for study, but not a page-turner.” If you’re not ready to engage with art-world concepts like “postmodernism” or “indexicality,” parts may feel heavy.

The book’s selective focus is another limitation. By zeroing in on fine-art photography, it largely ignores commercial, documentary, or amateur practices. If you’re into street photography, photojournalism, or Instagram aesthetics, you’ll find little here to connect with. Cotton’s definition of “contemporary art” is specific, excluding genres that many photographers embrace. A Goodreads user points this out: “It’s amazing for art gallery stuff, but it feels disconnected from what most photographers do day-to-day.”

Some readers may find the thematic structure disorienting. Without a chronological or geographic framework, it can be hard to grasp how practices evolved or how artists influence each other. For example, jumping from Cindy Sherman’s 1980s self-portraits to Anne Hardy’s 2010s installations feels abrupt without historical context. A few reviewers on LibraryThing mention this, with one saying, “I loved the ideas, but I wished for a timeline to ground the chapters.”

The digital era gets solid coverage, but it’s not exhaustive. Cotton discusses social media’s impact—how platforms like Instagram democratize art—but doesn’t dive deeply into newer trends like AI-generated imagery or blockchain-based art markets, which are huge in 2025. The book was published in 2020, so it misses the latest waves of tech-driven photography. For cutting-edge digital artists, newer texts or online resources might be more relevant.

Finally, the book assumes some familiarity with art history and theory. Terms like “tableau” or “conceptualism” are explained, but not always thoroughly, which could trip up beginners. It’s not a how-to guide either—don’t expect tips on camera settings or editing. If you’re looking for practical advice, Al Judge’s The Art of Photography or Michael Freeman’s The Photographer’s Eye are better bets. This book is about ideas, not execution.

How It Looks and Feels

The visuals are a knockout. Thames & Hudson’s production quality shines, with over 200 images reproduced in vivid color or crisp black-and-white. From Gregory Crewdson’s eerie, film-like scenes to Hiroshi Sugimoto’s serene seascapes, the photos leap off the page, inviting you to linger. The layout balances text and images seamlessly, with captions that add context without overwhelming. It’s the kind of book you’d leave on your coffee table but actually read cover to cover.

Practically, it’s a reference and inspiration source, not a workbook. There are no exercises or prompts, which might disappoint hands-on learners. But the artist profiles and thematic chapters spark ideas, making it ideal for brainstorming or academic study. It’s especially useful for art students, curators, or photographers wanting to pitch their work to galleries. The compact size (6×8 inches) makes it portable, perfect for flipping through during a museum visit or commute.

Why It Matters in 2025

In 2025, photography is everywhere—on billboards, TikTok, NFT marketplaces—yet its artistic value is often drowned out by commercial noise. The Photograph as Contemporary Art cuts through that clutter, showing how photographers use the medium to question reality, explore identity, or reframe history. Its global perspective, highlighting artists from marginalized communities, aligns with the art world’s push for inclusivity. Cotton’s take on digital platforms resonates in an era where Instagram is both a gallery and a battleground for attention.

For students, the book is a cornerstone text, widely used in university art programs (as noted in academic reviews on JSTOR). For artists, it’s a spark for experimentation, encouraging them to rethink what a “photograph” can be—maybe a sculpture, a performance, or a digital collage. Even casual enthusiasts will find it eye-opening, revealing the thought behind images that might otherwise seem random or pretentious. A Reddit user in r/art sums it up: “It made me see gallery photos differently. Now I get why a blurry portrait can be ‘art.’”

Compared to other books, it’s less practical than Art Wolfe’s The Art of the Photograph, which focuses on composition, or Al Judge’s The Art of Photography, which targets hobbyists. It’s closer to Susan Sontag’s On Photography but more visual and less philosophical. Its academic bent makes it a complement to hands-on guides, offering the “why” behind the “how.”

Final Thoughts

The Photograph as Contemporary Art (Fourth Edition) is a vibrant, thought-provoking journey into photography’s role as a serious art form. Charlotte Cotton’s sharp analysis and curated images make it a treasure for anyone curious about where photography intersects with culture, identity, and innovation. Its global scope, stunning visuals, and fresh perspective on digital art keep it relevant in 2025, even if its academic tone and narrow focus won’t click for everyone. If you’re a student, artist, or enthusiast ready to see photography through an art-world lens, this book is a revelation—just don’t expect it to teach you how to hold a camera. It’s a window into what photography means, and that’s more than enough.