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Journal articles on the topic 'History of the British photography'

Author: Grafiati
Published: 25 May 2024

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1

Thompson, Krista. "The Evidence of Things Not Photographed: Slavery and Historical Memory in the British West Indies." Representations 113, no. 1 (2011): 39–71. http://dx.doi.org/10.1525/rep.2011.113.1.39.

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Slavery and apprenticeship came to an end in the British West Indies in 1838, the year photography was developed as a fixed representational process. No photographs of slavery in the region exist or have been found. Despite this visual lacuna, some recent historical accounts of slavery reproduce photographs that seem to present the period in photographic form. Typically these images date to the late nineteenth century. Rather than see such uses of photography as flawed, or the absence of a photographic archive as prohibitive to the historical construction of slavery, both circumstances generate new understandings of slavery and its connection to post-emancipation economies, of history and its relationship to photography, and of archival absence and its representational possibilities.
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Koole, Simeon. "Photography as Event: Power, the Kodak Camera, and Territoriality in Early Twentieth-Century Tibet." Comparative Studies in Society and History 59, no. 2 (April 2017): 310–45. http://dx.doi.org/10.1017/s0010417517000068.

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AbstractThis article rethinks the nature of power and its relation to territory in the photographic event. Focusing on thousands of photographs taken during the British Younghusband Expedition to Lhasa between 1903 and 1904, it reorients understandings of photography as either reproducing or enabling the “negotiation” or contestation of power inequalities between participants. It shows how, in the transitory relations between Tibetans, Chinese, and Britons during and after photographic events, photography acted as a means by which participants constituted themselves as responsible agents—as capable of responding and as “accountable”—in relation to one another and to Tibet as a political entity. Whether in photographs of Tibetans protesting British looting or of their “reading” periodicals containing photographs of themselves, photography, especially Kodak photography, proposed potential new ways of being politically “Tibetan” at a time when the meaning of Tibet as a territory was especially indeterminate. This article therefore examines how the shifting territorial meaning of Tibet, transformed by an ascendant Dalai Lama, weakening Qing empire, and Anglo-Russian competition, converged with transformations in the means of visually reflecting upon it. If photography entailed always-indeterminate power relations through which participants constituted themselves in relation to Tibet, then it also compels our own rethinking of Tibet itself as an event contingent on every event of photography, rather than pre-existing or “constructed” by it.
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Tom, Martin, and Balaji Ranganathan. "Beyond the Frame: Exploring Dimensions of Colonial Photography in India." Shanlax International Journal of Arts, Science and Humanities 11, no. 3 (January 1, 2024): 91–97. http://dx.doi.org/10.34293/sijash.v11i3.6913.

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The paper “Beyond the Frame: Exploring Dimensions of Colonial Photography in India” delves into the multifaceted dimensions of photography’s inception in India during the colonial era. Investigating photography as both an art form and a technological import by the British, it explores its role in representing and often misrepresenting India and its people. Focusing on early pioneers such as the Daniel brothers, Fox Talbot, Louis Daguerre, and Monsieur Montaino, the paper discusses the challenges of early photographic techniques and their evolution. It highlights figures like Linnaeus Tripe, John Murray, and Samuel Bourne, emphasizing their impact on documenting India’s landscapes, monuments, and social narratives during moments of historical significance like the 1857 revolt. Furthermore, the paper examines the colonial gaze inherent in early ethnographic photography and discusses the emergence of Indian photographers like Raja Deen Dayal. Overall, it underscores photography’s pivotal role in representing colonial power dynamics and cultural narratives in India, amalgamating art history, media theory, and postcolonial studies.
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Seggerman, Alex Dika. "Scholarly Rigour in Gelatin Silver: K. A. C. Creswell’s Photographs of Islamic Architecture." International Journal of Islamic Architecture 13, no. 1 (January 1, 2024): 41–73. http://dx.doi.org/10.1386/ijia_00129_1.

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This article critically considers the aesthetics, process, and distribution of K. A. C. Creswell’s photographic collections of Islamic architecture. Creswell (1879–1974), a British university professor in Cairo from 1931 until his death, is considered one of the founders of the field of Islamic architectural history. As a young scholar in the 1910s, he took thousands of photographs of Islamic architectural sites, mainly in Egypt, which he then duplicated and deposited into major institutions of art historical study: Harvard University, the Victoria and Albert Museum, the Villa I Tatti, the Ashmolean Museum, and the American University in Cairo. While he strove to objectively document historical sites through photography, Creswell also inadvertently captured aspects of everyday life in the city of Cairo. These slips of modernity in his photographs highlight how he ‘personally re-created’ distinctive study images that are not solely documents of architecture. His choice of camera, lens, angle, shutter speed, lens filter, cropping, and printing generated an identifiable photographic style that marked these images within the field of art historical study. These five photographic collections, spread across three continents, thus exhibit how photography facilitated the incorporation of the field of Islamic art into the wider field of art history.
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Sarsby, Jacqueline. "Exmoor Village Revisited: Mass-Observation's ‘Anthropology of Ourselves’, the ‘Feel Good Factor’ in Wartime Colour Photography and the Photograph as Art or Social Document." Rural History 9, no. 1 (April 1998): 99–115. http://dx.doi.org/10.1017/s0956793300001461.

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In 1988, HTV made a series of programmes about a Somerset village called Luccombe. Their starting point was the Mass-Observation survey carried out over forty years before and described in Exmoor Village. No mention was made of the larger project - the ‘wholesome’ British export, for which the survey and perhaps even more importantly, the photographs, were commissioned. The difficulties of producing and reproducing fine-quality colour photographs at that time, however, suggest that the social investigators and the photographer were pursuing widely differing goals. The different approaches of social documentary photography and pictorial photography may not be obvious in a beautiful print, embedded in an anthropological text, but the use of photographs, which were essentially reconstructions of idealised village life disguised as documents, indicates how much importance the Ministry of Information attached to exporting the image of the wholesome, ‘traditional', English rural community.
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Brown, Terry M. "Transcending the colonial gaze: Empathy, agency and community in the South Pacific photography of John Watt Beattie1." Journal of New Zealand & Pacific Studies 8, no. 2 (December 1, 2020): 151–70. http://dx.doi.org/10.1386/nzps_00035_1.

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For three months in 1906, John Watt Beattie, the noted Australian photographer – at the invitation of the Anglican Bishop of Melanesia, Cecil Wilson – travelling on the church vessel the Southern Cross, photographed people and sites associated with the Melanesian Mission on Norfolk Island and present-day Vanuatu and Solomon Islands. Beattie reproduced many of the 1500-plus photographs from that trip, which he sold in various formats from his photographic studio in Hobart, Tasmania. The photographs constitute a priceless collection of Pacific images that began to be used very quickly in a variety of publications, with or without attribution. I shall examine some of these photographs in the context of the ethos of the Melanesian Mission, British colonialism in the Solomon Islands, and Beattie’s previous photographic experience. I shall argue that Beattie first exhibited a colonial gaze of objectifying his dehumanized exotic subjects (e.g. as ‘savages’ and ‘cannibals’) but with increased familiarity with them, became empathetic and admiring. In this change of attitude, I argue that he effectively transcended his colonial gaze to produce photographs of great empathy, beauty and longevity. At the same time, he became more critical of the colonial enterprise in the Pacific, whether government, commercial or church.
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van Leeuwen, Theo, and Adam Jaworski. "The discourses of war photography." Journal of Language and Politics 1, no. 2 (July 10, 2003): 255–75. http://dx.doi.org/10.1075/jlp.1.2.06lee.

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Photography has a long history of (de-)legitimation of wars. In this paper we examine the visual rhetoric of two newspapers, the British Guardian and the Polish Gazeta Wyborcza in their representation of the Palestinian-Israeli war in October 2000. Although both newspapers have access to the same (agency) photographs, their images differ. Both papers show the Palestinians to be the main victims of the war. However, Gazeta Wyborcza depicts the Palestinians predominantly as “terrorists” and deflects any military responsibility from the Israelis by not including any photographs of the Israeli soldiers. The Guardian shows the Palestinians predominantly as romanticised, lone heroes against the Israeli military might, although the Israeli military force is vague and de-personalised. Furthermore, both newspapers differ in their representation of the war in political terms choosing different images of local and international politicians.
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Brooke, Stephen. "Revisiting Southam Street: Class, Generation, Gender, and Race in the Photography of Roger Mayne." Journal of British Studies 53, no. 2 (April 2014): 453–96. http://dx.doi.org/10.1017/jbr.2014.10.

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AbstractThis article examines pictures taken by the British photographer Roger Mayne of Southam Street, London, in the 1950s and 1960s. It explores these photographs as a way of thinking about the representation of urban, working-class life in Britain after the Second World War. The article uses this focused perspective as a line of sight on a broader landscape: the relationship among class, identity, and social change in the English city after the Second World War. Mayne's photographs of Southam Street afford an examination of the representation of economic and social change in the postwar city and, not least, the intersections among class, race, generation, and gender that reshaped that city.
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Mandler, P. "Shadow Sites: Photography, Archaeology, and the British Landscape, 1927-1955." English Historical Review CXXIII, no. 503 (August 1, 2008): 1084–85. http://dx.doi.org/10.1093/ehr/cen216.

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Attewell, Nadine. "Looking in Stereo: School Photography, Interracial Intimacy, and the Pulse of the Archive." Asian Diasporic Visual Cultures and the Americas 4, no. 1-2 (March 4, 2018): 19–44. http://dx.doi.org/10.1163/23523085-00401002.

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This article examines the visual genre of the school photograph in order to reflect on the promise of transcolonial methodologies for thinking about the history of race and belonging in Canada. It focuses on four photographs of schoolchildren taken at around the same time in a range of locations across the British Empire. All feature Chinese children in close proximity to black, South Asian, or white peers. Seeking to understand how the photographs resonate with one another as representations of encounters between Asian and other racialized child subjects—divisions of class, location, and migration history notwithstanding—I develop a transcolonial methodology that is attentive to the (counter)institutional workings of rhythm and repetition as engines of community formation. Such a practice, I suggest, allows for rhythms to emerge that resist alignment with the pedagogical dictates of national time, as exemplified by national celebrations of Canada 150.
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Zawojski, Piotr. "Fotografia i film w praktyce artystycznej oraz propozycjach teoretycznych Davida Hockneya." Artium Quaestiones 31, no. 1 (December 20, 2020): 101–22. http://dx.doi.org/10.14746/aq.2020.31.4.

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In his diverse works, David Hockney has used, and still uses, various media, which in some periods of his activity gained leading significance, while in the following they were abandoned or temporarily abandoned. But no matter what medium in the given period was the main form of creativity, the focus of his interest has always been the issue of image and imaging. The article is devoted to the practice and theoretical recognition of photography, which was a kind of introduction to experiments with a moving image. The author refers to the artist's numerous publications on the theory and history of image and imaging (including Secret Knowledge, History of Images, On Photography). Photography led to Hockney's audiovisual realizations. This is a kind of repetition of the natural evolution and developmental progression of the media, also, and perhaps above all, in the technological dimension. The article is divided into three parts. In the first part, the author presents Hockney as a practitioner and theoretician, in whose activities both these activities are closely intertwined. This is a sign of the times: practice and theory are equally important, awareness of the medium, or artistic and aesthetic self-awareness of artists, is an expression of the spirit of the era in which an intuitive approach to art today seems inefficient, not to say impossible. Hockney appears to be an exemplary artist, who is extremely conceptual in his artistic practice as a consequence of his research on the history of art and a constantly developed set of his own theoretical findings. He is an artist discursively commenting not only on his work as an artist in many media (painting, drawing, graphics, set design, photography, film, computer graphics), but also an art and media theoretician reflecting on the fate of images in a changing media landscape. The second part of the article is devoted to the reconstruction of Hockney's theoretical reflections on photography and the analysis of his photographic projects. First of all, experimental Polaroid compositions created in the early eighties, named by the artist joiners, as well as photographic collages and photographic images realized in the later periods of the British artist's work. The third part considers digital movies, as Hockney calls them, audiovisual realizations referring to both his previous photographic works and experimental video films in which multi-camera systems are used.
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Andersson, Peter K. "Projecting Citizenship: Photography and Belonging in the British Empire, by Gabrielle Moser." English Historical Review 136, no. 579 (February 17, 2021): 454–56. http://dx.doi.org/10.1093/ehr/ceab011.

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Wright, P. "Shadow Sites: Photography, Archaeology & the British Landscape 1927-1955. By Kitty Hauser." Twentieth Century British History 19, no. 2 (December 13, 2007): 239–42. http://dx.doi.org/10.1093/tcbh/hwn004.

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14

Kłudkiewicz, Kamila. "NON-COLLECTIONS? OLD COLLECTIONS OF REPRODUCTIONS AND DOCUMENTING PHOTOGRAPHS IN MUSEUMS: SELECTED EXAMPLES." Muzealnictwo 62 (June 29, 2021): 153–62. http://dx.doi.org/10.5604/01.3001.0015.0032.

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Elizabeth Edwards, a British researcher into the relations among photography, history, and anthropology, used the term of non-collections to define numerous photographs of unidentified status which can be found in contemporary museums. They are not collector’s items, such as e.g., artistic photography or unique specimens of the first photography techniques. What she rather means are various items: prints, slides, photo-mechanic reproductions, postcards, namely objects once produced on a mass scale, with copies present in many institutions worldwide, thus being neither unique nor extraordinary. They present works from a museum collection, historic pieces of local art, or universally known works of world art. They exist in a hierarchical relation with other classes of museum objects, yet they are often pushed to the margin of curator’s practice and kept as ‘archives’, namely outside the system of the museum collection. They can sometimes be found in museum archival sections, in other instances in libraries, yet it is on more rare occasions that we come across them in photo departments. However, owing to the research into archival photographs conducted in the last decade (the studies of afore-mentioned Elizabeth Edwards and also Constanza Caraffa as well as the teams cooperating with the latter), such collections are experiencing a certain revival. Forming part of this research, the paper focuses on the collections of reproductions produced at the turn of the 20th century in museums in Toruń, Poznań, and Szczecin, which were German at the time; the reproductions later found their way to and continue being kept in Polish institutions.
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Gorrara, Claire. "Fashion and the femmes tondues: Lee Miller, Vogue and representing Liberation France." French Cultural Studies 29, no. 4 (October 28, 2018): 330–44. http://dx.doi.org/10.1177/0957155818791889.

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This article will examine representations of the Liberation of France in the war reports of Lee Miller, an accredited photographer and correspondent for American and British Vogue during the Second World War. Miller’s frontline reports framed Liberation France in idealised images of feminine beauty and elegance, making use of fashion as a primary conduit for understanding the war and occupation for readers on the home front. As this article will argue, examining Miller’s choices and perspective as a female photographer sheds new light on the intersection of fashion, war photography and the female body. In Miller’s work, fashion becomes a site for imagining liberation in ways that foreground the gendering of war experience and the legacies of conflict for women. By charting Miller’s representations of French women at the Liberation, and above all the chastised figure of the femme tondue, this article will analyse how French women function as carriers of multiple messages about war, liberation and reconstruction in Miller’s work. Unlike the sensationalist images of the femmes tondues published in the British picture press and newspapers in the summer of 1944, Miller’s war reports in Vogue construct an empathic relationship with such underprivileged female subjects. Miller’s work opens a space, therefore, for speculation on the role of fashion in shaping how the Second World War was understood by a first generation of female memory producers and consumers.
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Harris, David. "Review: Photography Takes Command: The Camera on British Architecture, 1890-1939." Journal of the Society of Architectural Historians 55, no. 1 (March 1, 1996): 81–83. http://dx.doi.org/10.2307/991058.

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Alves de Oliveira, Andreia, and Steve Edwards. "We Need More Documentary, and We Need More than Documentary: Interview with Art Historian Steve Edwards." Cabinet, Vol. 2, no. 2 (2017): 32–39. http://dx.doi.org/10.47659/m3.032.int.

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Steve Edwards teaches history and theory of photography and is a fiery, self-described “radical from a working-class background”, “post-Trotskyist” and “socialist feminist”, who reads “Marx and more Marx”. We met in 2016 in Lisbon at an academic conference on Photography and the Left, where he was one of the keynote speakers. Edwards’ paper tracked the changes in relation to the Left and the documentary movement in Britain from the 1970s to the present day, his argument consisting in that documentary and social class are closely entwined. This interview, done at Birkbeck, University of London, which he joined as a Professor at the beginning of this academic year, revisits the main themes of what was, in many ways, an enlightening and inspiring talk. Using the two terms – Photography and the Left – to frame and anchor the discussion, our exchange covers Edwards’ political education, the 1970s emergence of a key period in visual theory and subsequent mutations in political visual practice, up to its present status in a neoliberal society and the forms and intellectual basis of contemporary resistance to it. Although the exchange is centred on the British context, it is done so, however, with total awareness of it being an instance among others of documentary photography’s many global manifestations. It is with these manifestations that this interview aims to enter into dialogue, through its publication in a magazine with a global audience such as Membrana’s.
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Levine, Philippa. "Naked Truths: Bodies, Knowledge, and the Erotics of Colonial Power." Journal of British Studies 52, no. 1 (January 2013): 5–25. http://dx.doi.org/10.1017/jbr.2012.6.

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AbstractIf clothing can be said to have political and cultural meaning, then the same must surely be true of its absence. In the British Empire, where the calibration of difference was paramount, nakedness acquired hierarchical significance. The sensibilities of the Victorians clashed with those of their colonial subjects on this topic over and over again, and nakedness came to define savagery and subjecthood. Through the optics of scientific literature, popular photography, and art, this essay examines the colonial politics of nakedness, its gendered dynamics, and the tensions between the erotic and the scientific.
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Melman, Billie. "Ur: Empire, Modernity, and the Visualization of Antiquity Between the Two World Wars." Representations 145, no. 1 (2019): 129–51. http://dx.doi.org/10.1525/rep.2019.145.1.129.

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This article explores the multiple visual presences of antiquity in the first half of the twentieth century and connects visual histories to the history of empires. It shows how archaeology mediated between the newly discovered material civilizations of the ancient Mesopotamian empires and experiences of modernity in the British Empire, the world’s largest modern empire. The article demonstrates how the materiality of antiquity enabled its visualization in a variety of forms, from illustrations through black-and-white and color photography to aerial photography, and in three-dimensional reconstructions in museums. The article focuses on the spectacular archaeological discoveries at Ur, Tell Al-Muqayyar, in Southern Iraq, which exposed to mass audiences the unknown Sumerian culture. Ur was represented and constructed as the place of origin of monotheism, a site of a rich material culture, and, at the same time, as barbarous.
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Gorrara, Claire. "What the Liberator Saw: British War Photography, Picture Post and the Normandy Campaign." Journal of War & Culture Studies 9, no. 4 (April 7, 2016): 303–18. http://dx.doi.org/10.1080/17526272.2016.1159003.

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Hight, Eleanor M. "Picturing Empire: Photography and the Visualization of the British Empire (review)." Victorian Studies 42, no. 3 (2000): 569–71. http://dx.doi.org/10.1353/vic.2000.0064.

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Vandenbeusch, Marie. "Evidence of an Ancient Archive? The Papyrus British Museum EA 9961." Journal of Egyptian Archaeology 104, no. 2 (December 2018): 177–94. http://dx.doi.org/10.1177/0307513319856861.

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Used on both sides, the papyrus British Museum EA 9961 reproduces a marsh scene on the recto and a copy of the myth of Isis and her seven scorpions in cursive hieroglyphs on the verso. Although the high quality of the illustration is the most striking feature, the text has also been carefully laid out and written. This research seeks to investigate how, when and why this document, whose provenance and context are unknown, was composed. A detailed inspection of its surface using infrared photography helped to reveal many marks otherwise invisible and to retrace part of the history and deterioration of the roll. While the context of production will also be considered, we will examine if text and imagery were produced as models for the production of monuments or were secondary copies of older documents.
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Batchen, Geoffrey. "Projecting Citizenship: Photography and Belonging in the British Empire, by Gabrielle Moser." Art Bulletin 103, no. 4 (October 2, 2021): 147–49. http://dx.doi.org/10.1080/00043079.2021.1957386.

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Deazley, Ronan. "Struggling with authority: The Photograph in British legal history." History of Photography 27, no. 3 (September 2003): 236–46. http://dx.doi.org/10.1080/03087298.2003.10441249.

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Hickin, Edward J., and Henry M. Sichingabula. "The geomorphic impact of the catastrophic October 1984 flood on the planform of Squamish River, southwestern British Columbia." Canadian Journal of Earth Sciences 25, no. 7 (July 1, 1988): 1078–87. http://dx.doi.org/10.1139/e88-105.

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Small-format aerial photography of Squamish River just prior to and immediately following the October 1984 flood of record forms the basis of a quantitative evaluation of floodplain erosion and construction during this extreme event. Channel changes in 1984 are compared with those determined from sequential aerial photography at various other times since 1947 and associated with less extreme flooding.Depending on the type of river planform, the degree of channel change during the 1984 flood varied from a relatively minor response to a major reorganization of the channel. Despite its large size, the 1984 flood accomplished little more floodplain modification in the meandering and transitional semibraided reaches than had previous smaller floods of similar duration. In general, greater erosion was accomplished here by relatively small but longer duration flood events. In contrast, in the braided reach the 1984 flood caused floodplain erosion and major reorganization of the channel to an extent previously unrecorded, apparently here exceeding a threshold for channel stability. For all reaches, variation in floodplain erosion among sites was greater than at-a-site variation in erosion related to flood history.
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Sadoff, Dianne F. "Fiction in the Age of Photography: The Legacy of British Realism (review)." Victorian Studies 44, no. 1 (2001): 129–31. http://dx.doi.org/10.1353/vic.2001.0158.

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ARENSON, ADAM. "Anglo-Saxonism in the Yukon: The Klondike Nugget and American-British Relations in the ““Two Wests,”” 1898––1901." Pacific Historical Review 76, no. 3 (August 1, 2007): 373–404. http://dx.doi.org/10.1525/phr.2007.76.3.373.

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During the Klondike Gold Rush, Americans and Britons connected their joint local experiences with the simultaneous colonial conquests in Cuba, the Philippines, South Africa, and China through the ideology of Anglo-Saxonism. From 1898 to 1901 Dawson's newspapers, memoirs, correspondence, and commercial photography demonstrated the power of this symbolic language of flags and balls, heated rhetoric and dazzling cartoons. The Klondike Nugget, the first newspaper in town and the only one run by Americans, took up the claims of global Anglo-Saxonism with the most fervor, although its sentiments were often echoed in the Canadian-edited Dawson Daily News. Differences re-emerged, especially over the boundary between Alaska and Canada, but this brief episode remained deeply imprinted in narratives of the ““two Wests””——both of the North American frontier West and the West as Anglo-Saxon civilization——told at the turn of the twentieth century.
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Gier-Viskovatoff, Jaclyn J., and Abigail Porter. "Women of the British Coalfields on Strike in 1926 and 1984: Documenting Lives Using Oral History and Photography." Frontiers: A Journal of Women Studies 19, no. 2 (1998): 199. http://dx.doi.org/10.2307/3347166.

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Datta, Ann. "Beasts, birds and bees: visual resources for Africa in the Libraries of the British Museum (Natural History)." African Research & Documentation 48 (1988): 1–22. http://dx.doi.org/10.1017/s0305862x00009067.

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AbstractOriginal drawings and photographs of the natural history of Africa in the libraries of the British Museum (Natural History) are described, and a brief history of the libraries is given. The different kinds of natural history drawings and their purposes, and the importance of original drawings are considered A catalogue of the holdings of original drawings and photographs of Africa concludes the paper.
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Wei, Louisa, and Phil M. F. Shek. "An Encounter in Hong Kong Streets, 60 Years Apart." Cubic Journal 5, no. 5 (December 17, 2022): 110–23. http://dx.doi.org/10.31182/cubic.2022.5.54.

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Hong Kong has a history punctuated by waves of immigrants and influxes of expats, especially during years of wars, famine, and drastic social changes. The wide wealth gap among different classes contributes to the diverse cityscapes within walking distance of one another. Street photography in the international and multicultural metropolis has continued to fascinate photographers – some sojourning and others rooting. With two sets of photos – from British traveller Nick Howard and Hong Kong native Phil M.F. Shek – laid side by side, this essay questions the meanings generated through the juxtaposition of these images. Since the photo sets were taken in the 1950s and the 2010s respectively, does the time gap make a statement about Hong Kong today?
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Hanna, Erika. "Photographs and “Truth” during the Northern Ireland Troubles, 1969–72." Journal of British Studies 54, no. 2 (April 2015): 457–80. http://dx.doi.org/10.1017/jbr.2015.6.

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AbstractThis article explores how photographs were used as evidence during the early Northern Ireland Troubles. In particular, it focuses on the collection and use of images at the Scarman Tribunal, which investigated the disturbances of the summer of 1969, and the Widgery Tribunal, which sought to ascertain the sequence of events surrounding Bloody Sunday. Through close readings of how photographs were used at these two tribunals, the article shows how the existence of certain photographs served to anchor discussions of trajectories of violence around certain places and moments, illustrates how photographs taken for publication in newspapers were reread as evidential documents, and indicates the range of plausible truths each photograph was understood to provide. The study shows the importance of exploring the processes and mechanisms through which the state made sense of Northern Ireland to understand how causal accounts of conflict were produced and authenticated—and how, in turn, those explanatory regimes shaped the policies of the British state and the responses of local communities, and became embedded in historical writing on the Troubles.
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Li, Kin Sum (Sammy), Quanyu Wang, J. Keith Wilson, Fan Jeremy Zhang, Jody Ho Yee Cheung, Tsz Hin Chun, Sum Lam, et al. "DECORATED MODELS, REPLICATION, AND ASSEMBLY LINES FOR BRONZE INDUSTRIAL PRODUCTION IN 500 b.c.e. CHINA." Early China 44 (September 2021): 109–42. http://dx.doi.org/10.1017/eac.2021.9.

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AbstractThis article examines the earliest examples of replication of bronze objects of complicated structure in China. It uses four quadrupeds from the Freer Gallery (National Museum of Asian Art, Smithsonian Institution), the Asian Art Museum of San Francisco, the British Museum, and the Yūrinkan Museum in Kyōto as examples to illustrate the complex technology required in replicating bronzes. It provides evidence to define identical bronzes and proves that the four quadrupeds shared the same decorated model. The application of section-mold casting, spacers, clay cores, and mold section assemblage will be examined using 3D scanning, X-ray photography, computerized tomography (CT) scanning, and alloy composition analysis.
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Janes, Phoebe. "BRITISH PHOTOGRAPHY IN THE NINETEENTH CENTURY: THE FINE ART TRADITION. Mike WeaverTHE PHOTOGRAPHIC IMPRESSIONISTS OF SPAIN: A HISTORY OF THE AESTHETICS AND TECHNIQUE OF PICTORIAL PHOTOGRAPHY (Studies in Art and Religious Interpretation, v. 12). S. Carl King." Art Documentation: Journal of the Art Libraries Society of North America 9, no. 2 (July 1990): 119–21. http://dx.doi.org/10.1086/adx.9.2.27948229.

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Summers, G. D. "Metalwork in Gaziantep Museum said to be a Hoard from the Region of Sakçagözü." Anatolian Studies 41 (December 1991): 173–95. http://dx.doi.org/10.2307/3642939.

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In 1974 a group of copper alloy objects, including two figurines and a number of weapons, was taken to Adana Museum by a dealer from İslahiye. The objects were said to have come from a site near Kilis. One of the figurines, which has gold foil on the face, was bought by Adana Museum. Temporary closure of Adana Museum has precluded examination of this figurine. In 1975 fourteen copper alloy objects from this same group, including a figurine wearing gold and silver ornaments around the neck, were purchased from the same dealer by the Gaziantep Museum for the sum of thirty thousand Turkish Lira, then about one thousand pounds sterling. This time they were said to have come from the vicinity of Sakçagözü. Staff of Gaziantep Museum brought the existence of this hoard to the attention of the British Institute which was engaged in a restudy of material from earlier British excavations in the Sakçagözü region (French and Summers 1988). The author is extremely grateful to the Museum for allowing access to the finds, to David French for his encouragement and advice, Tuǧrul Çakar for the photography and Jane Goddard who made the drawings. This paper has benefited greatly from discussions with Drs. John Curtis, Roger Moorey, Graham Philip and Trevor Watkins. Any faults remain, of course, the responsibility of the author.
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Adriaens, Pieter R. "Disputing Darwin: On Piloerection and Mental Illness." Perspectives in Biology and Medicine 66, no. 4 (September 2023): 503–19. http://dx.doi.org/10.1353/pbm.2023.a909723.

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abstract: Most of Charles Darwin's ideas have withstood the test of time, but some of them turned out to be dead ends. This article focuses on one such dead end: Darwin's ideas about the connection between piloerection and mental illness. Piloerection is a medical umbrella term to refer to a number of phenomena in which our hair tends to stand on end. Darwin was one of the first scientists to study it systematically. In The Expression of the Emotions in Man and Animals (1872), he discusses piloerection in the context of his analysis of the expressions involved in fear and anger, relying heavily on the evidence provided by one of his correspondents, the British psychiatrist James Crichton Browne. This essay reveals how Darwin's initial doubts about the similarity between piloerection in animals and psychiatric patients were eased when studying photographic portraits of female psychiatric patients sent to him by Crichton Browne. It considers arguments against Darwin's reading of these portraits and the apparent contrast between this reading and his own skepticism, in later years, about the value of documentary photography. The article concludes with some notes regarding the reception of Darwin's ideas about psychopathology.
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Vicente, Filipa Lowndes. "A Photograph of Four Orientalists (Bombay, 1885): Knowledge Production, Religious Identities, and the Negotiation of Invisible Conflicts." Journal of the Economic and Social History of the Orient 55, no. 2-3 (2012): 603–36. http://dx.doi.org/10.1163/15685209-12341247.

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Abstract By analyzing the history of a photograph taken in a Bombay photo studio in 1885, this article explores notions of the production of knowledge on India and cultural dialogues, encounters, appropriations, and conflicts in colonial British India in the late nineteenth century. The photograph was taken after a Hindu religious ceremony in honour of the Italian Sanskritist Angelo de Gubernatis. Dressed as a Hindu Brahman, he is the only European photographed next to three Indian scholars, but what the image suggests of encounter and hybridity was challenged by the many written texts that reveal the conflicting dialogues that took place before and after the portrait was taken. Several factors were examined in order to decide who should and who should not be in the photograph: religion, cast, and even gender were successively discussed, before the category of “knowledge” became the bond that unified the four men who studied, taught, and wrote on India.
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Fabbricotti, Emanuela. "Thomas Ashby e la Libia." Libyan Studies 32 (2001): 115–31. http://dx.doi.org/10.1017/s0263718900005811.

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AbstractThomas Ashby was a very well-known British archaeologist of the beginning of last century. He travelled a lot and left to the British School at Rome, of which he was the first student, many albums of photographs. Some of them have been recently published. This article deals with the trip to Libya by sea made in May 1910. He took photographs of Derna, Benghazi and Tripoli with general views of them. Of course, the panorama is now changed, but it is interesting to note some features which are nowadays lost, like the Turkish castle at Benghazi, or the arch of Marcus Aurelius at Tripoli still obstructed by later buildings, or the ‘modern’ technology of the radio masts at Derna.
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Goetzmann, William H. "Picturing Empire: Photography and the Visualization of the British Empire. James R. RyanDrawing Shadows to Stone: The Photography of the Jesup North Pacific Expedition, 1897-1902. Laurel Kendall , Barbara Mathe , Thomas Ross Miller." Isis 90, no. 2 (June 1999): 370–71. http://dx.doi.org/10.1086/384363.

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Grossmann, Rebekka. "Image Transfer and Visual Friction: Staging Palestine in the National Socialist Spectacle." Leo Baeck Institute Year Book 64, no. 1 (2019): 19–45. http://dx.doi.org/10.1093/leobaeck/yby022.

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Abstract This article highlights modes of image transfer between photographers in Palestine and photo agencies and editors in 1930s Europe. It argues that Jewish photographers—who had shaped the central European photographic and photojournalistic scene before 1933, and were now excluded from it—continued to influence the international news and press market through their works. Palestine, a place to which several of these journalists fled, had been known in the European spectacle as the timeless ‘Holy Land’; now, through political upheavals, it entered the news. The photographic documents of the clashes between Arabs, Jews, and British troops during the 1930s and taken by German-Jewish photographers in exile became valuable commodities internationally and entered a plethora of national markets, including that of National Socialist Germany. Many of the photographers who had been banned from the German photojournalistic scene in fact remained part of the visual discourse negotiated in German illustrated newspapers. The experience of exile of the photographers and photo agents involved in the international image transfer of photographs from Palestine can be seen as a catalyst for the contingencies in international photo trade, the loss of control of news photographs, and ultimately the crossing of the aesthetic and artistic borders of National Socialist Germany, which were believed to be closed to outside influences. The various views and the ways in which they were used trigger questions about the nature of the photographic gaze and the possibility or impossibility of distorting visual content via textual frameworks in photo essays and newspaper articles.
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Bernier, Celeste-Marie. "“The Slave Ship Imprint”: Representing the Body, Memory, and History in Contemporary African American and Black British Painting, Photography, and Installation Art." Callaloo 37, no. 4 (2014): 990–1022. http://dx.doi.org/10.1353/cal.2014.0181.

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Devoy, Louise E. "Lunar Crater Models." Nuncius 35, no. 2 (September 10, 2020): 300–332. http://dx.doi.org/10.1163/18253911-03502006.

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Abstract This article traces the story of three amateur astronomers who created relief models to help them depict the changing illumination of certain lunar craters, examples of which can be found in UK museum collections today. English chemist Henry Blunt (1806–1853) adopted the emerging technology of electrotyping to reproduce and distribute his plaster model of the Eratosthenes crater to a wider audience. Scottish industrial engineer James Nasmyth (1808–1890) used a combination of drawing, modelling and photography to support his thesis on the volcanic origin of lunar craters in his popular book The Moon Considered … (1874). Spanish sculptor Dionis Renart (1878–1946) produced a series of plaster models for the Exposición General De Estudios Lunares (1912) that eventually came to Greenwich via the British selenographer Hugh Percy Wilkins (1896–1960). These three case studies provide us with valuable insights into the rationale behind the production, use and distribution of lunar crater models within amateur and popular astronomy.
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Hope, T. "TP3-11 Sir geoffrey jefferson, a father of the SBNS, a remarkable life." Journal of Neurology, Neurosurgery & Psychiatry 90, no. 3 (February 14, 2019): e21.1-e21. http://dx.doi.org/10.1136/jnnp-2019-abn.65.

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ObjectivesThe foundation of a Society of Neurological Surgeons was Jefferson`s idea. How did this come about? The objective is to research this period of our history and its development.DesignA review of papers and articles held in the University of Manchester, The University of Oxford and abstracts from a biography of Jefferson by Peter Schurr, enables an historic presentation to the SBNS and the ABN.SubjectsIn 1926 Sir Geoffrey Jefferson was closely connected to the leading minds in British neurology and neurological surgery. His friendship and correspondence with Cushing was a major force in his drive for a specialist society. These players on the neurosurgical stage are the subjects of this presentation.MethodsAs in the design, the author will survey all available material including photography and handwritten manuscripts.ResultsOn the very next day after being appointed a consultant neurological surgeon at the Manchester Royal Infirmary, Jefferson arranged a meeting at the Athenaeum Club to consider the formation of our society. This was held on December the 2nd 1926 and the first formal scientific meeting was held on the 3rd at Queen Square!ConclusionsThe formation of this small society was crucial in presenting British neurosurgery as a specialty in its own right to medicine in the United Kingdom. No other neurosurgical society existed in Europe at this stage. Jefferson is indeed the father figure of our society today.
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Ryder, J. M. "Neoglacial history of the Stikine–Iskut area, northern Coast Mountains, British Columbia." Canadian Journal of Earth Sciences 24, no. 7 (July 1, 1987): 1294–301. http://dx.doi.org/10.1139/e87-125.

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Information about Neoglacial features was obtained from aerial photograph interpretation, observations during low-level flights, ground checking, and historical records. Terminal moraines at Great, Flood, and Mud glaciers date from the late seventeenth to early eighteenth centuries, and recessional moraines at these glaciers and terminal moraines at glaciers farther east date from the late nineteenth to early twentieth centuries. These late Neoglacial terminal moraines appear, in general, to mark the greatest post-Pleistocene extent of the glaciers. Radiocarbon dates from overridden trees and soil indicate that 500–600 14C years BP glaciers were considerably more extensive than they are at present and were advancing. Preservation of a 3800 14C year old caribou antler in a snowbank that is now rapidly shrinking suggests that climate has been relatively cool and moist for the past four millennia.
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Pevec, Iza, and Robbie Cooper. "Staring at the Screen: Interview with Photographer Robbie Cooper." Grimace, Vol. 2, no. 1 (2017): 14–19. http://dx.doi.org/10.47659/m2.014.int.

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From the beginnings of the photography, portrait photography has had a special aura – reading one’s own facial expressions and those of others is after all a very human trait. In his project Immersion, British artist Robbie Cooper presents a specific type of portraits – portraits of people as media consumers. We are all aware of the frightening statistics of the average number of hours spent behind the screen, yet Cooper’s intention was not to moralise. A diverse spectrum of people’s expressions captured during watching various media content tells only one part of our human story. In the Immersion, the screen becomes some kind of mirror, recording intense expressions of the portrayed persons, captured with an in-built camera. Because of the accompanying sound, we can guess what the people are watching – the content includes everything, from video games, pornography to snuff movies. Stills from the movies have less documentary value. With the help of the high quality of the photos, the frozen grimaces become peculiarly similar to the classical portraits from the history of art. Almost eccentric grimaces confuse us and at the same time remind us how realistic virtual reality feels. Cooper had already explored our relationship towards virtual reality in his project Alter Ego, in which he sets the gamers of virtual games next to their avatars. He was interested in the human element of virtual worlds by questioning what imaginary personas can tell us about their creators. Throughout our conversation, questions of human consciousness arose. Keywords: expressive face, grimace, human character and facial expression, media content, Robbie Cooper, role-playing
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Coates, Oliver. "Between Image and Erasure." Radical History Review 2018, no. 132 (October 1, 2018): 200–207. http://dx.doi.org/10.1215/01636545-6942513.

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Abstract Approximately 73,290 West Africans traveled to South Asia during World War II, but relatively little is known about their activities on the subcontinent. The photographs of African soldiers in India published in the British Army’s RWAFF News, a Bombay-printed newspaper specifically designed for West African troops overseas, provide a rare and little-known insight into the lives of African soldiers in India. Existing accounts of African military service in India often outline the soldiers’ experience of India in only very general terms and typically privilege the combat experience of troops in Burma. The images described in this brief article reveal a very different face of African overseas military service: they depict a group of soldiers visiting the Taj Mahal and encountering the Mughal monument. Although published and choreographed by the British, these images reflect a moment of South-South encounter between West Africans and India’s Islamic history.
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Orlova, E. V. "Из истории Людвиг Музеум – от коллекции к музею." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 164–75. http://dx.doi.org/10.46748/arteuras.2021.01.012.

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The article is devoted to the founding of the Museum Ludwig in Cologne and presents an analysis of the process of building this museum of contemporary art in dynamics — from the beginning of the collection within the walls of the Wallraf-Richartz Museum to gaining the status of an independent exhibition giant. The study provides an overview of the collection and its sources, identifies individual significant works of art, accompanied by art history descriptions, and sets out the reasons and the chronicle of the separation of the Museum Ludwig from the Wallraf-Richartz Museum. The museum, established in 1976, presents German art from the first half of the 20th century, American and British pop art of the 1960s, Russian avant-garde, photorealism and contemporary art from the last third of the 20th century. It has departments of painting, sculpture, graphics and art photography. The role of the famous German patrons and collectors of Peter and Irene Ludwig in the formation and replenishment of the museum's funds is noted. Статья посвящена основанию Музея Людвига в Кёльне и представляет анализ процесса построения этого музея современного искусства в динамике — от начала формирования коллекции в стенах Музея Вальрафа-Рихарца до обретения статуса самостоятельного экспозиционного гиганта. В исследовании даны обзор коллекции и источники ее формирования, указаны отдельные крупные произведения искусства, сопровожденные искусствоведческим описанием, а также изложены причины и хроника выделения Музея Людвига из состава Музея Вальрафа-Рихарца. Вновь образованный в 1976 году музей представляет искусство Германии с первой половины XX века, американский и британский поп-арт 1960-х годов, русский авангард, фотореализм и актуальное искусство последней трети ХХ века. В нем созданы отделы живописи, скульптуры, графики и художественной фотографии. Отмечена роль известных немецких меценатов и собирателей Петера и Ирены Людвиг в формировании и пополнении фондов музея.
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Scheper Hughes, Jennifer. "God-Bearers on Pilgrimage to Tepeyac: A Scholar of Religion Encounters the Material Dimension of Marian Devotion in Mexico." Religion and the Arts 18, no. 1-2 (2014): 156–83. http://dx.doi.org/10.1163/15685292-01801009.

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‭Contemporary ritual practice at the Virgin of Guadalupe’s shrine at Tepeyac emphasizes the material dimension of the sacred in Mexico: every day, ritual actions at the shrine confer power, prestige, and potency to images, effigies, and other replicas of the Virgin. One particularly pronounced devotional practice involves the carrying of replicas of the Virgin as sacred burdens: pilgrims carry these sometimes quite cumbersome objects tied to their backs as they make their way to Tepeyac hill. Drawing on the photographic series The Road to Tepeyac (2010) by Mexican-British photographer Alinka Echeverría, among other sources, this article explores the ritual processes by which material is infused with spirit and the body of the devotee becomes fused with the body of the Virgin. The analysis is contextualized within the history of devotional practice in Mexico.‬
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Savage, Norman M., and Risa M. Corlett. "The internal features of the Rhynchonellid brachiopod Propriopugnus Brunton, 1984, from the lower Carboniferous of England." Journal of Paleontology 70, no. 3 (May 1996): 530–31. http://dx.doi.org/10.1017/s0022336000038476.

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As part of the preparation for reviewing the Paleozoic rhynchonellids for the revised brachiopod treatise, one of us (NMS) requested help from Dr. Howard Brunton, of the Natural History Museum (British Museum, London) in obtaining type material of Propriopugnus pugnus (Martin) to further investigate the internal features. Dr. Brunton kindly sent a Natural History Museum specimen that he considers to be close to the lectotype. This specimen has been photographed and sectioned, and it is described below.
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Hight, Eleanor M. "BOOK REVIEW: James R. Ryan.PICTURING EMPIRE: PHOTOGRAPHY AND THE VISUALIZATION OF THE BRITISH EMPIRE.Chicago: University of Chicago Press, 1997." Victorian Studies 42, no. 3 (April 1999): 569–71. http://dx.doi.org/10.2979/vic.1999.42.3.569.

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Earley, Nathan, Ian Walker, and John Woods. "Mallard (<i>Anas platyrhynchos</i>) drake observed consuming an adult Western Tiger Salamander (<i>Ambystoma mavortium</i>)." Canadian Field-Naturalist 136, no. 2 (November 7, 2022): 153–55. http://dx.doi.org/10.22621/cfn.v136i2.2911.

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We observed a Mallard (Anas platyrhynchos) drake consuming an adult Western Tiger Salamander (Ambystoma mavortium) in the southern interior of British Columbia, Canada. To our knowledge, this is the first published report of this predator–prey interaction. We outline the events of the short observation, briefly discuss natural history of the predator and prey relevant to the observed interaction, and provide chronological photographs of the event.
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