Abstract

This article examines the emergence and flowering of visual-literacy discourse in the 1960s, locating it in the photographic milieu of Rochester, New York, whose high-profile institutions—the Kodak Company, Aperture magazine, and the George Eastman House—made significant use of the term. As these institutional actors deployed the term, they also harnessed it to practices involving sequential photography. In doing so, we argue that they established a set of concerns by which photo critics entered into dialogue with photographers and curators, developing perspectives that helped shape photography well into the following decade.