Literatura académica sobre el tema "Susan Meiselas"

As narrativas sobre mulheres, mesmo dentro dos estudos feministas, podem ser entendidas como normativas e colonizadoras, especialmente quando se dão a partir de um olhar ocidental sobre as mulheres do terceiro mundo. A partir da análise do pensamento da autora indiana Chandra Talpade Mohanty, este artigo busca relacionar seu discurso com exemplos de mulheres fotógrafas que buscaram desconstruir essa estrutura hierárquica do olhar, como Claudia Andujar, Graciela Iturbide, Nair Benedicto e Susan Meiselas, além das reflexões da artista interdisciplinar Grada Kilomba, em diálogo com outros autores do campo da imagem. A fotografia pode ser considerada, assim, uma ferramenta de escrita de novas narrativas de resistência.Palavras-chave: Feminismo. Fotografia. Mulheres fotógrafas. AbstractNarratives about women, even within feminist studies, can be understood as normative and colonizing, especially when they are done from a western perspective on third world women. Based on the analysis of the thought of Indian author Chandra Talpade Mohanty, this article seeks to relate her discourse to examples of female photographers who sought to deconstruct this hierarchical structure of the gaze, such as Claudia Andujar, Graciela Iturbide, Nair Benedicto and Susan Meiselas, in addition to the reflections of the interdisciplinary artist Grada Kilomba, in dialogue with other authors in the field of image. Photography can thus be considered a tool for writing new narratives of resistance.Keywords: Feminism. Photography. Women photographers.

E ste año se celebra la edición número 54 de Les Rencontres de la photographie d’Arles, sin duda el festival de fotografía más antiguo y reconocido del mundo. En él se ha escrito una parte fundamental de la Historia del medio, haciendo desfilar por sus salas de exhibición desde fotógrafos míticos como Henri Cartier-Bresson, Ansel Adams y Robert Frank, hasta artistas que están marcado las tendencias actuales como Laia Abril, Taryn Simon y Smith, pasando por los grandes nombres de la fotografía de cambio de siglo como Joan Fontcuberta, Paul Graham y Susan Meiselas

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This essay examines the work of Joan Colom, a Catalan photographer who has come to receive a welter of honors, including the National Prize in Photography, but whose career has been anything but easy and uninterrupted. Colom’s fame derives largely from Izas, rabizas y colipoterras, a photo-book produced in collaboration with Camilo José Cela that focuses on the prostitutes of the Barri Xino of Barcelona and that quickly acquired a cult status among members of the “divine left” critical of Franco’s morally smug regime. Addressing tensions between amateurism and professionalism, art and documentation, the studio and the street, and the image and the word, Fontcuberta presents Colom’s work as a radiography in which the camera serves as an instrument of political critique and the vibrancy and sordidness of street life come to the fore. Inimitable as the book is, it nonetheless allows for productive comparisons with more recent, feminist inflected work on streets, streetwalkers, and sex workers from beyond Barcelona: Susan Meiselas’s Carnival Strippers; Elisabeth B’s Das ist ja zum Peepen; Merry Alpern’s Dirty Windows, and Erika Langley’s The Lusty Lady.

Barring the conflict in Chiapas, which has been portrayed more like theater (though deadly serious theater) than as warfare, the Central American civil wars of the 1980s and 1990s have ended, at least for the foreseeable future.

La dialogie a été développée dans les années 1920 par Mikhaïl Bakhtine, théoricien russe de la littérature. Il a développé ce concept afin d’étudier les oeuvres de Dostoïevski, avant de l’étendre plus généralement à la communication. Dans le contexte artistique, la dialogie se manifeste à travers la représentation de dialogues, favorisant une description dense et des réponses non totalisantes. Dans la photographie documentaire, l’auteur.e adopte une approche dialogique, en reconnaissant l'autre comme un sujet autonome. L'oeuvre résulte d'une interaction constante avec les interlocuteur.ice.s du terrain. Cette thèse explore l'approche dialogique dans la photographie documentaire à travers une perspective ethnographique, méthodologique et épistémologique. La première partie se concentre sur mon terrain de 2012 à 2017 avec un groupe de "zonard.e.s" : le projet ZONE 54. La seconde partie établit des liens entre les principes de la dialogie, le projet ZONE 54, et d'autres documentaires dialogiques de photographes tels qu’Allan Sekula, Susan Meiselas, Marc Pataut et Gilles Saussier
Dialogy was developed in the 1920s by the Russian literary theorist Mikhail Bakhtin. He developed the concept in order to study the works of Dostoyevsky, before extending it more generally to communication. In the artistic context, dialogy entails the representation of dialogues, favoring thick description and non-totalizing responses. In documentary photography, the author adopts a dialogic approach, recognizing the other as an autonomous subject. Dialogic works promote sustained interaction with the interlocutors in the field.This thesis explores the dialogic approach in documentary photography from an ethnographic, methodological and epistemological perspective. The first part focuses on my own fieldwork from 2012 to 2017 with a group of "zonard.e.s": the ZONE 54 project. The second part links the fundamental principles of dialogy, the ZONE 54 project, and other dialogic documentary works by such photographers as Allan Sekula, Susan Meiselas, Marc Pataut and Gilles Saussier

The Insubordination of Photography ends with an Epilogue about the 2015 exhibition Chile desde adentro, one of the latest iterations of Chile from Within, a book edited by Susan Meiselas in collaboration with a group of AFI photographers in 1988 and published in New York in 1990. The exhibition centers on photography, postmemory, and the transition from dictatorship to democracy after the Chilean Plebiscite of 1988.