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Vellanki, Vivek. « Shifting the Frame : Theoretical and Methodological Explorations of Photography in Educational Research ». Cultural Studies ↔ Critical Methodologies 22, no 2 (28 décembre 2021) : 132–42. http://dx.doi.org/10.1177/15327086211045976.
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In this article, I focus on the relationship between photography and educational research, situating this conversation at the interstices of fact/fiction, indexical/imaginary, and art/data. I ask: How has our understanding and use of photography, the camera, and the photographer been shaped by the field of qualitative research? What possibilities exist for reimagining the role of photography in educational research and practice? Drawing on a diverse body of theoretical, empirical, and artistic works, I respond to the questions by looking at three key elements shaping image-based visual research: the ontology of photography, collaboration and photography, and thinking with art/photography. Across these three key elements, I interrogate taken-for-granted assumptions about the camera, photographs, and the relationships between the photographer-photographed in the context of educational research and articulate some shifts that help reframe our understanding of photography and how it is used within educational research and practice.
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Rissanen, Mari-Jatta. « Entangled photographers : Agents and actants in preschoolers’ photography talk ». International Journal of Education Through Art 16, no 2 (1 juin 2020) : 271–86. http://dx.doi.org/10.1386/eta_00031_1.
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Photographs taken by young children have engendered a growing amount of research across diverse academic disciplines. Photographs have been used as visual data for analysing for example children’s social relations and well-being. However, only a few studies have addressed the photographic practices of young children as means for them to explore, imagine and coexist with the surrounding world. In this article, I introduce a case study that draws on research from art education and sociology of childhood. The data were gathered in a photography workshop in a Finnish early childhood education and care centre, where fourteen preschoolers discussed their photographs inspired by contemporary Finnish art photography. In order to expose diverse human and material actors and their interactions in preschoolers’ photography talk, I applied Bruno Latour’s actor-network-theory. Thus, preschoolers’ photography is seen as a practice of visual meaning-making wherein agency is distributed among several actors.
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Okpoko, Chinwe, et Mpho Chaka. « Exploratory view of the synergy between photojournalism and fine-art photography ». IKENGA International Journal of Institute of African Studies 23, no 2 (30 juin 2022) : 1–23. http://dx.doi.org/10.53836/ijia/2022/23/2/003.
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Photojournalism uses images to tell stories and report events, while fine-art photography aims to express creative ideas and messages also through images. Although both fields express socio-political and religious ideas and reflect the past through pictures, they differ in approach. Photojournalism portrays events as they are using pictorial representations, without imputing the opinion of the journalist; fine art projects such events also pictorially, but from the vision of the artist. Thus both photojournalism and fine-art photography use photographs as a medium of expression. However, while photojournalism fosters a deep appreciation of works of art by projecting artistic images via communication media, which ultimately informs the psyche of the audience, fine-art photography expresses the emotions and viewpoints of the artist through photographs. This study, therefore, uses documentary evidence to determine the interface between photojournalism and fine-art photography.
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Glebova, Aglaya. « Elements of Photography ». Representations 142, no 1 (2018) : 56–90. http://dx.doi.org/10.1525/rep.2018.142.1.56.
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This essay traces the evolution of landscape imagery in Aleksandr Rodchenko’s photographic oeuvre, focusing especially on images produced during his journalistic trip to the White Sea-Baltic Canal, one of the first Soviet forced labor camps. Through close reading of photographs, it argues that Rodchenko’s abandonment of avant-garde aesthetics, in particular the emphasis on photography’s transformative powers and its medium-specificity, in these images did not represent a shift toward socialist realism but, rather, held critical potential in the face of contemporaneous official censure of formalism and “contemplation” in both science and art.
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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 (avril 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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Fox, Paul. « An unprecedented wartime practice : Kodaking the Egyptian Sudan ». Media, War & ; Conflict 11, no 3 (13 juillet 2017) : 309–35. http://dx.doi.org/10.1177/1750635217710676.
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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic practices associated with Nile tourism and recent military activity in the Nile valley after 1882, the author argues, firstly, that the representation of combat was transformed by handheld photography and, secondly, that in the context of photographs of logistical activity and leisure, picturesque aesthetics were occluded by a ‘documentary’ mode of representation synonymous with the increasingly industrial nature of Western armed conflict. The article also calls attention to how photomechanical reproduction made possible the widespread availability of affordable albums for a public here identified as the readership of the illustrated general interest weeklies. More generally, the sheer number of photographs resulting from the use of Kodak technology prompted a more fluid use of montage-like techniques by album makers, for public and private use, including text and multiple image combinations, to build more dynamic visual narratives of experience on campaign than had hitherto been possible.
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Mountfort, Paul. « Dérives : Street photography as post-/Situationist practice ». Australasian Journal of Popular Culture 10, no 1 (1 décembre 2021) : 21–38. http://dx.doi.org/10.1386/ajpc_00036_1.
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Street photography has hardly lacked for popular cultural currency, as attested by those ubiquitous black framed prints and coffee table tomes. However, it has long been a relatively marginalized genre within photography that has seen relative critical neglect even compared to other demotic forms concerned with the everyday, such as the family portrait (Bourdieu) and snapshot (Barthes). This article seeks to sketch a series of potential intersections between street photography’s antecedent, formative and breakout phases on both sides of the Atlantic and the Situationist International’s (1957‐72) embodied practices surrounding the dérive, détournement and psychogeography more generally. Arguably, remediating street photographic practice and composition in relation to these disruptive strategies can provide a kind of corrective to the more formalistic conception of the former, as exemplified in the reification of Henri Cartier-Bresson’s famous dictum of the ‘decisive moment’. I will argue that Situationist discourse helps reframe these moments of the street as ‘situations’ in the Situationist sense, lines of flight that became explicit when the development of street photography in Europe is overlaid with that of the United States, Paris with New York. Such détournement arguably brings into view vectors between street photography and revolutionary art practices often neglected in discussions of these Dérives of the street, and gestures towards ‐ at least in potentia ‐ a kind of afterlife of post-/Situationist praxis in the practices of street photographers.
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Massarente, Martina. « The Digital Platform of D.I.R.A.A.S. (UNIGE) ». Studies in Digital Heritage 3, no 2 (13 juin 2020) : 156–69. http://dx.doi.org/10.14434/sdh.v3i2.27441.
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This project studies photography as an instrument for artistic and historical teaching in relation to the didactic traditions of the Humanities at the University of Genoa. This research was initially based on an analysis of the corpus of glass diapositives and phototypes mostly owned by Giusta Nicco Fasola, Genoa’s first art history professor, and currently stored by D.I.R.A.A.S. (Dipartimento di Italianistica, Romanistica, Antichistica, arti e spettacolo). The corpus contextualizes Fasola's scientific and didactic interests in relation to her complex biography as a woman, professor, and political combatant in the Resistance in Fiesole and Florence. The central element of this analysis is the project for a prototype of a digital art history photo library, intended as a place of study and research and as a virtual communication platform. The overall goal of this work is to investigate the relationship between photography, history, and art critique.
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Miller, Melissa. « British Theatre Collections in the Harry Ransom Humanities Research Center ». Theatre Survey 39, no 1 (mai 1998) : 63–72. http://dx.doi.org/10.1017/s0040557400003021.
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The Harry Ransom Humanities Research Center at the University of Texas at Austin has become, since the 1950s, well-known for its holdings in twentieth century literature. I offer here a brief description of the holdings in British theatre in the Theatre Arts Collection and the Manuscripts and Archives division of the Ransom Center. My secondary purpose is to suggest: and encourage corollary research in other Ransom Center holdings, such as its Art Collection and Photography and Film Collection. A listing of selected holdings follows this overview below, together with information on fellowships for researchers.
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Zambenedetti, Alberto. « Emplacing Time : Photography, Location, and the Cinematic Pilgrimage ». Space and Culture 23, no 4 (15 octobre 2018) : 548–60. http://dx.doi.org/10.1177/1206331218805381.
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Cinema, arguably the time-based medium most synonymous with modernity, is also an art form of place: cinema records place in time and, in the best circumstances, stores it through time. If, as Michel de Certeau remarked, “space is a practiced place,” then cinema is the memory of that practice; it is the archive of that transformation. Cinema, in other words, “emplaces time.” Moreover, because of its physical properties, film is also an archival object whose very existence is challenged by the passing of time. In recent years, the ways in which cinema emplaces time have become the subject of a dual contemplation on the part of a generation of photographers whose projects re-photograph cinema’s loci, from movie palaces to film locations. This article investigates the relationship between film the work of three “cinematic pilgrims”: British artist Michael Lightborne, whose 2012 installation Interval (After Intervals) included photographs of the locations for Peter Greenaway’s 1969 short film Intervals alongside the original film; Christopher Moloney’s ongoing project FILMography, in which the Canadian photographer travels the world bringing printed reproductions of film stills to the sites where they were originally shot and then re-photographs them in situ; and the travel blog Fangirl Quest by the Finnish Tiia Öhman and Satu Walden, a photographer and a travel expert, respectively, who re-photograph a location while displaying the related movie scene on a tablet practice (a practice they call “sceneframing”). These projects underscore cinema’s innate relationship with place, while they also highlight the changes that occurred in the time that intervened since production, revealing the instability of the filmic object as one of time as well as in time.
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Schaefer, William. « Poor and Blank : History's Marks and the Photographies of Displacement ». Representations 109, no 1 (2010) : 1–34. http://dx.doi.org/10.1525/rep.2010.109.1.1.
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Observing a conjunction between massive rural-to-urban migration and the recent documentary turn in Chinese art, this essay suggests some of the ways documentary photography works as a medium of historical thinking in contemporary China. Through the work of the photographer Zhang Xinmin, it examines the cultural politics of blankness and marked surfaces as representational strategies for exploring the intersection of historical remains and mass migration.
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Cannon, Ingrid M., et Karl Gernot Kuehn. « Caught : The Art of Photography in the German Democratic Republic ». German Studies Review 23, no 1 (février 2000) : 221. http://dx.doi.org/10.2307/1431512.
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Cruickshank, Iona, et Rachel Mason. « Using Photography in Art Education Research : A Reflexive Inquiry ». International Journal of Art & ; Design Education 22, no 1 (février 2003) : 5–22. http://dx.doi.org/10.1111/1468-5949.00335.
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Nordström, Paulina. « Glass Architecture as a Site for Encountering the Surface Aesthetics of Urban Photography ». Space and Culture 20, no 3 (11 mai 2017) : 271–86. http://dx.doi.org/10.1177/1206331217707475.
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This article brings glass architecture and geophilosophy into a relationship with one another with the further aim of studying surface aesthetics of urban photography. First I present a selected history of glass architecture and its previous methodological applications. Then, I focus on the characteristics of glass architecture—its permeability/reflectivity and capacity to act with light—in relation to the geophilosophies of Nietzsche and Deleuze. I aim to formulate surface aesthetics through which I contemplate the materialities and the fabulative landscape of urban photography. Urban photography is valued for its characteristic of combining the practices of art and research. In this article, urban photography is also understood as an affectual encounter. However, for urban photography to be seen as a creative medium, it has to be acknowledged as not merely making aesthetic representations of the world but also opening a landscape in order to see it differently and ask new questions.
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Gonzalez, J. A. « A Contemporary Look at Pierre Bourdieu's Photography : a Middle-Brow Art ». Visual Anthropology Review 8, no 1 (mars 1992) : 126–31. http://dx.doi.org/10.1525/var.1992.8.1.126.
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Parker, Jan. « Stories, narratives, scenarios in Medicine ». Arts and Humanities in Higher Education 17, no 1 (12 janvier 2018) : 3–19. http://dx.doi.org/10.1177/1474022217740300.
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This Medical Humanities Special Issue critiques and reflects on narrative practices around medical, psychiatric and trauma care. This introductory article explores the affordances of patient experience narratives and scenarios to illuminate lives interrupted by medical and psychological crises while raising questions about the medical ethics, epistemological frameworks and potential pathologising of diagnosing complex conditions. It discusses the problematics and ethics of ‘re-presenting’ trauma in art, photography, film or music and the potential for theatre to raise difficult issues in and beyond medical training.
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Shoked, Noam. « Hanging Out with Cyclists ». Boom 6, no 3 (2016) : 84–88. http://dx.doi.org/10.1525/boom.2016.6.3.84.
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In 2014, architecture Professor Margaret Crawford and Associate Professor of Art Practice Anne Walsh taught the first University of California, Berkeley, Global Urban Humanities Initiative research studio course, called “No Cruising: Mobility and Identity in Los Angeles.” What occurred during the course had both varied and unexpected interpretations as ten students majoring in art practice, art history, architecture, and performance studies each selected a dimension of mobility they wished to identify on field trips to LA. One goal of these field trips, or research studios, was to get students out of their comfort zones to explore new approaches and methods. We encouraged students to draw on each others’ disciplines, so art students undertook archival research while architectural history students, like Noam Shoked, used interviews and photography to investigate contemporary conditions. The stories here are from Shoked as he comes to interpret and interact with the cyclist of LA.
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Хохлова, С. П. « Photos by Eugène Atget as expression of objectivity of architecture : Hôtel de Beauvais ». Shagi / Steps 10, no 1 (2024) : 297–323. http://dx.doi.org/10.22394/2412-9410-2024-10-1-297-323.
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The article compares the representation of architecture in French and Russian academic art history, on the one hand, and in Eugène Atget’s photographs, on the other. The starting point for the art historical descriptions is Jacques-François Blondel’s analysis, supported by Jean Marot’s drawings. The choice of characteristics analyzed by Blondel and later researchers reflects the schematism in the understanding of architecture, its distance from the human being, and its lack of existential characteristics. This representation finds correspondence in the illustrative material — in the preference for drawings, plans, frontal point of view, and the absence of the human being in it. Atget’s images, due to the personal characteristics of their author, as well as of photography as an art form in general, reflected those characteristics of architecture which art historians overlooked, and which are related to its fundamental immersiveness and inseparable connection with the human lifeworld. Atget achieves this effect with the help of complex angles, naturalness of visual coverage, and seriality of photographs. “Unadorned” pictures of old buildings correspond to the naturalness of their aging, to actual and potential ruin as an important characteristic of architecture. On the basis of the analysis, the conclusion is reached about the need to revise the subject of architectural studies in the direction of its greater multidimensionality, inseparability from the human being, dynamism and uncertainty.
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PEARISO, CRAIG J. « Styleless Style ? What Photorealism Can Tell Us about “the Sixties” ». Journal of American Studies 47, no 3 (18 février 2013) : 743–57. http://dx.doi.org/10.1017/s0021875812002071.
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This essay reads 1960s “photorealist” painting and its critical reception against two sets of contemporary social analyses. First, it places these artistic and critical works next to Pierre Bourdieu's 1965 textPhotography: A Middle-Brow Art, demonstrating that, although the critical literature surrounding “photorealism” tended to assume that its involvement with photography grew out of a desire for an objective realism, contemporary thought on photography was anything but convinced of the medium's transparency. Second, it looks to cultural critics like Susan Sontag and Jacob Brackman to propose that, rather than seeing the art of this period in opposition to the heated political battles of “the sixties,” the presumably “styleless” works of artists like Robert Bechtle and Ralph Goings may lead us to reconsider the forms of those battles themselves.
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LAVRENOVA, OLGA A. « The Geography of Art IX International Scientific Conference ». Art and Science of Television 19, no 2 (2023) : 245–58. http://dx.doi.org/10.30628/1994-9529-2023-19.2-245-258.
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Geography of Art is an interdisciplinary synthesis inspired by the theme of creative genius comprehending and exploring space. The project began in 1994, with the first collection of works published at the Russian Heritage Institute under Yuri Vedenin’s guidance; the first conference was held in 2009. In recent years, the conferences have been held annually under the auspices of the Institute of Scientific Information on Social Sciences of the Russian Academy of Sciences, the Russian Academy of Arts, GITR Film and Television School, the Russian State University for the Humanities. The IX International Conference Geography of Art of 2023 united culturologists and art historians, geographers and philosophers from all over Russia and abroad. Traditionally, the participants discussed issues related to artistic space of literary and pictorial works, local texts, geographical and cartographic images, and virtual spaces created by art. As always, a separate section was devoted to “mastering,” using, modeling space in screen and photography art. An innovation in the scholarly dispute of the 2023 conference was the culturological and anthropological discourse on the visual image genesis and transformation from archaic to modern times, as well as the transgression of genius loci in the online media and virtual space.
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Papargyriou, Eleni. « Mia ‘Yperochos Nothos’ Techni : Poiitikes tis Fotografias (Teli 19ou‐Arches 20ou Aiona) (A ‘Majestically Counterfeit Art’ : Poetics of Photography [End of 19th‐Beginning of 20th Centuries]), Kostas Ioannidis (2019) ». Journal of Greek Media & ; Culture 7, no 1 (1 avril 2021) : 121–24. http://dx.doi.org/10.1386/jgmc_00032_5.
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Review of: Mia ‘Yperochos Nothos’ Techni: Poiitikes tis Fotografias (Teli 19ou‐Arches 20ou Aiona) (A ‘Majestically Counterfeit Art’: Poetics of Photography [End of 19th‐Beginning of 20th Centuries]), Kostas Ioannidis (2019)Athens: Futura, 325 pp.,ISBN 978-9-60948-987-4, p/bk, €20.99
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Bishop, Paul. « Book Review : Christopher Webster (ed.) : Photography in the Third Reich : Art, Physiognomy and Propaganda ». Journal of European Studies 51, no 2 (31 mai 2021) : 173–74. http://dx.doi.org/10.1177/00472441211013111n.
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Rutherford, Emer Forde, Jacqueline Priego-Hernandez, Aurelia Butcher et Clare Wedderburn. « Using photography to enhance GP trainees’ reflective practice and professional development ». Medical Humanities 44, no 3 (8 février 2018) : 158–64. http://dx.doi.org/10.1136/medhum-2017-011203.
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The capacity and the commitment to reflect are integral to the practice of medicine and are core components of most general practitioners (GP) training programmes. Teaching through the humanities is a growing area within medical education, but one which is often considered a voluntary ‘add-on’ for the interested doctor. This article describes an evaluation of a highly innovative pedagogical project which used photography as a means to enhance GP trainees’ reflective capacity, self-awareness and professional development. Photography was used as a tool to develop GP trainees’ skills in recognising and articulating the attitudes, feelings and values that might impact on their clinical work and to enhance their confidence in their ability to deal with these concerns/issues. We submit that photography is uniquely well suited for facilitating insight and self-reflection because it provides the ability to record ‘at the touch of a button’ those scenes and images to which our attention is intuitively drawn without the need for—or the interference of—conscious decisions. This allows us the opportunity to reflect later on the reasons for our intuitive attraction to these scenes. These photography workshops were a compulsory part of the GP training programme and, despite the participants’ traditional scientific backgrounds, the results clearly demonstrate the willingness of participants to accept—even embrace—the use of art as a tool for learning. The GP trainees who took part in this project acknowledged it to be beneficial for both their personal and professional development.
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Röller, Nils. « Image Protocol – A Tool for the Philosophy of Art ». Cubic Journal 5, no 5 (17 décembre 2022) : 86–93. http://dx.doi.org/10.31182/cubic.2022.5.52.
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An investigation into illustrations of philosophical texts conducted by artist Barbara Ellmerer and graphic designer Vera Kaspar, two artists who documented their enquiries with ‘image protocols’. These protocols, in turn, led to a re-evaluation of the materials and means used in the process of artistic perception and production. This process remains structurally resistant to verbalisation but relies on individual calibrations between the perception of a given image and the means and materialities at the artist’s disposal (colours, brushes, paper, but also photography, scanning, printing).
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Acharya, Bipin. « Applicability of Visual Arts in the Age of Globalization ». Cognition 5, no 1 (12 juin 2023) : 6–10. http://dx.doi.org/10.3126/cognition.v5i1.55356.
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This research article focuses on the relevance of visual art in the age of globalization. It also depicts the visual culture as an inevitable genre to enhance the humanities through arts. The digitization of arts through technology in terms of painting, photography, film, dance and sculpture is knocking the door of globalization in order to flourish the significance of arts in the modern world. The article varies the arts and other humanities on the basis of their contribution in revealing and reflecting the social norms and values. Similarly, the research moves around the matter of interconnectedness between arts and other humanities since commercialization of arts has created an immediate and superficial satisfaction. It focuses on the ethics of visual culture and the must values it should carry on to reveal in the global world as arts belong to all particular geography or locality equally. The influence of media technology has been a milestone to internalize the visual arts under the umbrella of visual culture. The article explores the significance of the visual culture in the age of globalization whether it serves the humanity through its aesthetic value or not.
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Mancic, Ivana. « Outside of Memories We Belong, Women of Yugoslavia ». Identities : Journal for Politics, Gender and Culture 17, no 2-3 (30 décembre 2020) : 82–88. http://dx.doi.org/10.51151/identities.v17i2-3.460.
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This article addresses the issues surrounding the Yugoslav Civil War by offering my personal narrative in relation to loss and disappearance resulting from the exposure to war and sanctions in the nineties and the “Merciful Angel“ operation of the bombing of Serbia by NATO in 1999. It thus focuses on the female interpretation of people, ways of life, buildings and human artifacts belonging to the historical period of communist Yugoslavia which once were, yet no longer remain. The work with archives, especially the photographs which originate from my personal family possession, brings closer these ghosts of the past times to the present moment. At the same time, photography is a means to investigate the position and treatment of women during and after the period of Yugoslavia, their efforts and struggles for emancipation. The usage of photography as a visual narrative allows an insight into the lives of women during communism through the lens of my closest female family members. The article tackles different issues concerning women in communist Yugoslavia, and follows certain steps in their history, from the emancipation following the Second World War and participation of women in battle as combatants and nurses, their efforts in rebuilding the country and subsequent reestablishment of patriarchal values which occurred at the start of Yugoslav Civil war and conflicts that marked it. Autoethnography as a research method combined with personal narrative allows a deeper understanding of culture and values of Yugoslav society and their subsequent clash. In addition to this, it celebrates the importance of female voice and activism in the constant battle against patriarchy and women who chose to defy it by acknowledging responsibility and the patriarchal nature of war. Photographic practice-based research allows an insight into individual stories which form a deeper understanding of the pre- and post- war Yugoslav society and political circumstances surrounding it. Author(s): Ivana Mancic Title (English): Outside of Memories We Belong, Women of Yugoslavia Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020) Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 82-88 Page Count: 7 Citation (English): Ivana Mancic, “Outside of Memories We Belong, Women of Yugoslavia,” Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020): 82-88. Author Biography Ivana Mancic, Nottingham Trent University Ivana Mancic is a Ph.D, researcher in Fine Art, School of Art and Design at Nottingham Trent University, U.K., with the focus on art practice aimed at the production of multi-disciplinary artworks, videos and installations, the purpose of which is to display the personal narrative to address the issues of war, loss and belonging, related to the specificity of the ex-Yugoslav context in order to contribute to the developing of the female voice of artists and pacifists in contemporary art. The personal narrative is presented in the written form through artworks, texts, essays and reflections on war experiences and current world crises through intersections between the present and the past.
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Kea, Pamela. « Photography, care and the visual economy of Gambian transatlantic kinship relations ». Journal of Material Culture 22, no 1 (14 décembre 2016) : 51–71. http://dx.doi.org/10.1177/1359183516679188.
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This article examines transnational kinship relations between Gambian parents in the UK and their children and carers in The Gambia, with a focus on the production, exchange and reception of photographs. Many Gambian migrant parents in the UK take their children to The Gambia to be cared for by extended family members. Mirroring the mobility of Gambian migrants and their children as they travel between the UK and The Gambia, photographs document changing family structures and relations. It is argued that domestic photography provides an insight into the representational politics, values and aesthetics of Gambian transatlantic kinship relations. Further, the concept of the moral economy supports a hermeneutics of Gambian family photographic practice and develops our understanding of the visual economy of transnational kinship relations in a number of ways: it draws attention to the way in which the value attributed to a photograph is rooted in shared moral and cultural codes of care within transnational relations of inequality and power; it helps us to interpret Gambians’ responses to and treatment of family photographs; and it highlights the importance attributed to portrait photography and the staging, setting and aesthetics of photographic content within a Gambian imaginary.
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Sile, Agnese. « Mental illness within family context : Visual dialogues in Joshua Lutz’s photographic essay Hesitating beauty ». Arts and Humanities in Higher Education 17, no 1 (12 janvier 2018) : 84–103. http://dx.doi.org/10.1177/1474022216684635.
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The status of photography within medical arts or humanities is still insecure. Despite a growing number of published photographic essays that disclose illness experience of an individual and how illness affects close relatives, these works have received relatively little scholarly attention. Through analysis of Joshua Lutz’s Hesitating Beauty (2012) which documents his mother who was suffering from schizophrenia, this article will explore how the photographic essay attempts to reconstruct a dialogue between mother and son out of fragmented, broken and undeveloped communications, and in the process how it challenges representation itself, on which it is dependent. The focus of the analysis is on identifying and illuminating the intimate space that opens between the photographer and the photographed person and that provides new forms of communication as well as uncovers existing forms of knowledge that is shared between them. This paper will also assess the political and cultural significance of such representation.
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Just, Daniel. « Art and everydayness : Popular culture and daily life in the communist Czechoslovakia ». European Journal of Cultural Studies 15, no 6 (30 novembre 2012) : 703–20. http://dx.doi.org/10.1177/1367549412450637.
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This article analyzes the interaction between art and practices of everyday life in communist Czechoslovakia in the 1970s and 1980s. Discussing various forms of adaptations to the politically repressive system – from photography and film to social activities such as ‘cottage homemaking’ and ‘cabining’ – the author describes ways in which popular culture under communism resisted the state-induced drive to modernize which, as a political tool, was designed to pacify the masses. The article suggests that by breaching the gap between the quotidian and the extraordinary, which as a systemic division has defined daily life in modernity, popular culture was instrumental in reinvigorating everydayness.
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Brand, Gabrielle, Ashlee Osborne, Steve Wise, Collette Isaac et Christopher Etherton-Beer. « Using MRI art, poetry, photography and patient narratives to bridge clinical and human experiences of stroke recovery ». Medical Humanities 46, no 3 (6 juin 2019) : 243–49. http://dx.doi.org/10.1136/medhum-2018-011623.
Texte intégralRésumé :
Integrating co-produced humanities-based pedagogy into patient and workforce education is of growing interest. The aim of our Depth of Field: Exploring Stroke Recovery project grew from a strong commitment to use patients' lived experiences as a voice to educate new stroke patients and the health professional staff who will care for them. The aim of the initial Quality Improvement project at a West Australian Stroke Rehabilitation Unit (SRU) was to co-produce a reflective learning resource with stroke patients and their families to help navigate the stroke recovery journey. A series of artefacts (documentary-style photographs, audio-narrated vignettes, MRI images and poetry) were collected from four stroke patients and their families at differing stages of recovery over 12 months as they recounted the honest and raw reality of what life is really like following a stroke. These artefacts were used in a pilot qualitative project to explore new stroke patients, their families and SRU health professional staff perceptions towards the artefacts in order to inform the final educational resource. These findings enhance our understandings of how we can use art and patient (healthcare consumers) voice to widen the lens of stroke recovery and provides a valuable template to co-produce peer-to-peer and health professions education reflective learning resources to promote more human- centred approaches to care.
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Vanover, Charles. « The Magic of Theater : Photographing a Performative Academic Career ». Cultural Studies ↔ Critical Methodologies 21, no 1 (26 juin 2020) : 41–55. http://dx.doi.org/10.1177/1532708620931136.
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I discuss my efforts as a “good enough” photographer and describe the role photographs play communicating important moments from a series of ethnodramas I built about the Chicago Public Schools. I discuss my early efforts to use photography to legitimize my arts-based research practice, describe how my goals changed, and explain how I created images to communicate the energy of live theater. Building on Eisner’s theoretical work, I discuss three tensions of my photographic practice: intention versus improvisation, action versus artifice, and safety versus possibility. These tensions emphasize my limits as a photographer and the possibilities of arts-based research.
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Afanaseva, I. A. « The linguistic generation : Logocentric practices in the works of contemporary Russian artists (2010–2022) ». Shagi / Steps 9, no 3 (2023) : 218–38. http://dx.doi.org/10.22394/2412-9410-2023-9-3-218-238.
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The article is devoted to a study of the artistic phenomenon of textuality in contemporary Russian art from 2010 to 2022. The works of contemporary artists (Ivan Simonov, Timofey Radya, Vladimir Abikh, Vladimir Logutov, Semyon Motolyants, Mayana Nasybullova), whose creative practices give the text, phrases, words, statements a lead role, are analyzed here. The works of these artists have not yet been studied in detail by art historians, art critics, and culturologists, but nowadays their creations are widely featured at Russian and foreign exhibition halls, auctions, museums and private collections. The article pays special attention to the various art forms and medias — from painting to installation, from photography to street art and performance. It considers various types of connections between the word, its image, object and semantic meanings, and analyzes the dialogues between the verbal and the visual in the Russian contemporary art. Contemporary artists often work with narratology and visual language, subtle linguistic and pictorial categories. The semantic content of many artworks is multilayer and polysyllabic. The author comes to the conclusion that verbal-visual art is an established trend on the Russian art scene, closely related to the Moscow conceptual circle (Ilya Kabakov, Victor Pivovarov, Eric Bulatov, Andrey Monastyrski, Vitaly Komar and Alexander Melamid).
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Lee, A. Robert. « Shooting America : “ American Images : Photography 1945–1980 ” Barbican Art Gallery, 10 May to 30 June 1985 ». Journal of American Studies 20, no 2 (août 1986) : 294–98. http://dx.doi.org/10.1017/s0021875800015085.
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Jerrentrup, Maja Tabea. « I’m bad : The fascination of embodying the evil in a virtual world ». Virtual Creativity 12, no 2 (13 avril 2023) : 155–79. http://dx.doi.org/10.1386/vcr_00066_1.
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Drawing on in-depth interviews, as well as digital and real-life participant observation, this article deals with the question of why many people are eager to embody something evil in the context of staged, digital photography – that is, to depict evil creatures and/or evil deeds. After looking at the general fascination for the evil and the way it is staged, the moment of embodiment is considered, a process of specific importance in times of digitalization: during the embodiment, the model can try out the evil quasi as a test without consequence and is able to physically express negative or socially undesired feelings such as not fitting in, disgust or anger and feel empowered while doing so. Furthermore, the resulting photographs offer the possibility to shape and form the evil and thus, to subject it to art, to aestheticize it and to make it presentable and manageable.
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Lavrenova, Olga A. « VISUAL IMAGES OF SPACE. REVIEW OF THE GEOGRAPHY OF ART VII INTERNATIONAL CONFERENCE ». Art and Science of Television 17, no 3 (2021) : 211–29. http://dx.doi.org/10.30628/1994-9529-17.3-211-229.
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The Geography of Art International Scientific Conference has a long history. Geography of Art began in 1994 and was originally conceived as a purely publishing project. In 2009, the first conference was held under the auspices of the Likhachev Russian Research Institute for Cultural and Natural Heritage and its director Yuri A. Vedenin. The topics at the conferences are traditionally very diverse, but the “protagonist” of all discussions, debates, and subsequent collections is invariably space, in all its guises, and its interaction with culture. The original subjects such as the geography of art schools and traditions and the placement of artifacts on the earth’s surface have over time been supplemented by conceptual questions of the construction of spatial images in painting, literature, and cinema. Over the past few years, the conference has been organized by the Institute of Scientific Information on Social Sciences of RAS, the Russian Academy of Arts, GITR Film and Television School, and the Russian State University for the Humanities. In 2021, for the first time, the conference was arranged in a hybrid format: some sessions were held in person at the Russian Academy of Arts and GITR, while some discussions were convened online. This made it possible to significantly expand the geography of our participants. An important topic was brought up—the possibility of generating images of space and transforming the spatial picture of the world by different types of art, including screen art, creating new meanings of places and regions. A separate section was devoted to the concepts of space and the corresponding images in digital media, cinematography and photography. The section discussed the peculiarities of national cinematography from the point of view of forming the country’s image, which can play a significant role in intercultural communication, and regional images created with the help of photography and IT-technology as an attractor in the formation of recreational flows. Among other things, the conference covered the specifics of space perception in the era of digitalization, the creation of representations, and spectacularity. A separate topic was the construction of narrative topoi within the framework of different versions of screen adaptations of the same work. All discussions complemented each other in creating a three-dimensional picture of spatial images by means of digital and screen arts, generating a modified reality supplemented by photo and film visualizations.
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LAVRENOVA, OLGA A. « Digital and Analog Spaces : the Geography of Art VIII International Conference ». Art and Science of Television 18, no 4 (2022) : 173–85. http://dx.doi.org/10.30628/1994-9529-2022-18.4-173-185.
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The VIII International Scientific Conference Geography of Art was held in May 2022. This is a new step in a long-term project devoted to the issues of “mastering” geographical space through art, including the semiotics of spaces created by artists, sculptors, and architects. Among other aspects, the conference examined how art creates geographical images and fantasy worlds, which always have a trace of the real world’s spatial regularities. Since 1994, the project has existed in the form of collections of scientific articles, and since 2009—in the form of conferences as well. The project was conceived by Russian geographer Yury Vedenin, and later Olga Lavrenova, philosopher and culturologist, picked up the initiative. In recent years, the conference has been organized by the Institute of Scientific Information on Social Sciences of the Russian Academy of Sciences, the Russian Academy of Arts, GIRT Film and Television School, and the Russian State University for the Humanities. In 2022, the Faculty of Geography and Geoinformation Technology of the HSE University joined the team of organizers. A separate section of the conference was dedicated to media, photo and cinema. There were reports on the historical and cultural aspects of creating virtual spaces, and on the images of the territories created by screen arts. Following the tradition, conferees considered the role of territorial factors in the formation of art schools and individual art works. This year, the discussions focused on digital media. An important place was given to photography as a tool for shaping geographical images and fixing them in time. The combination of a digital replica of the world with new landscape art creates a new augmented reality as a work of art. The geography of fashion and musical culture are also expressed in digital reality. A separate subject is the structures of chaos and order in cinema—the very concepts of space, which are yet another traditional talking point at the conference. These topics are in the mainstream of the discussion of semiotics of space created through art, as well as the geographical aspects of art development, including digital art.
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Siemens, Elena. « Death in Vienna ». Space and Culture 17, no 4 (30 septembre 2014) : 336–45. http://dx.doi.org/10.1177/1206331214543865.
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“Death in Vienna” is intended as an introduction to this themed issue on The Dark Spectacle: Landscapes of Devastation in Film and Photography. Drawing on Susan Sontag’s Regarding the Pain of Others, the articles gathered here address the representation of unsettling subject matter (war, ecological catastrophe, destructive urbanization) in a variety of visual media. The collection’s specific focus is on the important role played by space in the depiction of disturbing events. Do images portraying death and destruction generate documents, or do they create works of art? Does their beauty drain “attention from the sobering subject?” “Death in Vienna” addresses these and other related questions with reference to Yevgeny Khaldei’s photography, specifically a shocking image he took in Vienna during the final days of the World War II. Together with Sontag, this article also questions our “right to look” at images of extreme suffering.
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Njirić, Diana, et Ivica Miloslavić. « Semiotic Effect in Visual Communication ». European Journal of Multidisciplinary Studies 1, no 2 (30 avril 2016) : 308. http://dx.doi.org/10.26417/ejms.v1i2.p308-316.
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The paper attempts to define the term semiotics of photography. Approach to the theme was started from the concept of semiotics. Since the 60s of the last century, "semiotics", which studies the characters, has begun to affect changes in the humanities and natural sciences. After Ferdinand de Saussure, the study of signs focused on humans need labeling, especially on the logic of "communication" and disclosure "codes" that form the background of diverse cultural phenomena. Semiotics provides to understand in a different way, by language and framework, the link between the image and society. It is also a method that can be used to expose photos, studying mass media, literary texts and systematically analyze a number of other features of the popular culture. In the modern, technologically developed world, man is exposed to photos more than ever (billboards, advertisements, magazines, art photography... ). Visual impact, as the most convincing form of attracting attention, affects the formation of opinions and attitudes, encouraging consumption and serves in many other commercial or political purposes. Therefore, semiotics, science which studies signs and their meanings, is becoming more important scientific discipline in explaining sociosemiotic aspects of society. In the paper is analized the photo in a different context using semiotics to understand it. Assuming that the symbolism of the publicly engaged photos exposed to the public differs from those intended for the specialized or limited audience, will be attempted to prove that the former is expected to influence with emotions, more shocking attempt to attract attention, and the later let observers themselves to decode picture.
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Jerrentrup, Maja Tabea. « A Liberating Experience. On Becoming a Work of Art ». Creativity. Theories – Research - Applications 7, no 2 (1 décembre 2020) : 411–30. http://dx.doi.org/10.2478/ctra-2020-0020.
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Abstract The art of bodypainting that is fairly unknown to a wider public turns the body into a canvas - it is a frequently used phrase in the field of bodypainting that illustrates the challenge it faces: it uses a three-dimensional surface and has to cope with its irregularities, but also with the model’s abilities and characteristics. This paper looks at individuals who are turned into art by bodypainting. Although body painting can be very challenging for them - they have to expose their bodies and to stand still for a long time while getting transformed - models report that they enjoy both the process and the result, even if they are not confident about their own bodies. Among the reasons there are physical aspects like the sensual enjoyment, but also the feeling of being part of something artistic. This is enhanced and preserved through double staging - becoming a threedimentional work of art and then being staged for photography or film clips. This process gives the model the chance to experience their own body in a detached way. On the one hand, bodypainting closely relates to the body and on the other hand, it can help to over-come the body.
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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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Gil, Tali. « Meaningful Learning through Art : Nature Photography, Haiku Writing, Mobile Technologies and Social Media as a Path to Oneself ». International Journal of Art & ; Design Education 38, no 2 (25 septembre 2018) : 360–75. http://dx.doi.org/10.1111/jade.12192.
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Balčus, Zane. « OF STILL AND MOVING IMAGES : STYLISTICS OF HERCS FRANKS’ EARLY DOCUMENTARIES ». Culture Crossroads 23 (10 janvier 2024) : 216–25. http://dx.doi.org/10.55877/cc.vol23.377.
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Latvian documentary filmmaker Hercs Franks (1926–2013) directed his first films in 1965, the two short documentaries were produced at the Latvian television’s production unit Telefilma-Rīga: “Salty Bread” (Sāļā maize) and “At Noon” (Pusdienā). Both films reflect an intricate practice and aesthetic element of the director – the use of still photography, which for him is both a research tool and a stylistic device present throughout his career. “Salty Bread” includes photographs as a stylistic element allowing the viewer to prolong observation of particular images, whereas in “At Noon” still photographs feature on the films’ credits, but more significant is photography’s use as a research tool for preparing the film. The intermedial studies have explored the interrelationship of different media and used intermediality as a tool for close reading of specific works, among other applications. The connection of cinema and photography represent the potential of intermedial approach through the technological, aesthetic, institutional practices. Specifically documentary cinema in its relation to photography shares additional issues of the meaning of documentality and representation of reality. Through close reading of Hercs Franks’ first films, I would argue that Franks transcends normative documentary function in the use of still photographs [Hallas 2023] and demonstrates the intermedial practice in combining photography and documentary filmmaking.
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Olin, Margaret. « Touching Photographs : Roland Barthes's ''Mistaken'' Identification ». Representations 80, no 1 (2002) : 99–118. http://dx.doi.org/10.1525/rep.2002.80.1.99.
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IN CAMERA LUCIDA, ROLAND BARTHES'S subject is the significance of photography's defining characteristic: the photograph's inseparable relation to its subject, that which ''must have been'' in front of the camera's lens. Or so it would seem. The present reading of Camera Lucida argues that Barthes's essay actually shows photography's nature as dependent not only on the intimate relation to its object, commonly termed ''indexical,'' but in accord with its relation to its user, its beholder. An examination of Barthes's encounters with photographs in Camera Lucida reveals the way in which identification and misidentification figure into the viewing of images, and suggests that contact between the beholder and the photograph actually eclipses the relation between the photograph and its subject. Barthes's focus on the emotional response of the viewer disguises the fact that he misidentified key details in Camera Lucida's photographs, most significantly in a 1927 portrait by James Van Der Zee and in the ''Winter Garden Photograph.'' This latter photograph of Barthes's recently deceased mother as a small child is famously not illustrated in the book. This essay argues that it is fictional. These ''mistakes'' suggest that Camera Lucida undermines its ostensible basis in indexicality. The subject did not have to be in front of the camera after all. The present rereading of the text from this point of view articulates a notion of performativity according to which the nature of the contact that exists between the image and the viewer informs the way an image is understood. Barthes's desire to find his mother again through her photograph to a large extent acts out his desire to re(per)form and make permanent his relation to her, a desire that he elucidates in the process of describing his search for her picture and his reaction to it when he finds it. This performative element is charged with identification; the person the narrator (Barthes) seeks, in his mother, is himself. A close analysis of the ''Winter Garden Photograph,'' as described by Barthes, shows how performances of identification are inscribed with gender and familial configurations.
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Agbo, George Emeka. « Challenging the frivolities of power : the ubiquitous camera and Nigerian political elites ». Africa 89, no 2 (mai 2019) : 286–302. http://dx.doi.org/10.1017/s0001972019000068.
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AbstractThe last decade has witnessed the ubiquitous presence of camera devices, from conventional cameras to communication gadgets (such as mobile phones, iPads and tablets), built with the capacity to produce, edit, disseminate and interact through photographs. In this article, I analyse visual materials circulated on Facebook, YouTube and Nairaland (a locally popular social-networking website used by Nigerians) to demonstrate how the ubiquity of the camera, its overt and surreptitious use, and the transformation and circulation of the resulting photographs constitute political acts in a postcolonial African context. The camera's ubiquity encompasses the increasing availability of photographic devices, but also the growing, and politically charged, inclination to put them to use, framing the world through which their users move. The production and dissemination of the resulting photograph gives it the status of an eyewitness account, amidst contestations that heighten its force as political articulation. Lastly, the ubiquitous camera is a means through which the public observes, polices and exposes the duplicity of state functionaries. The article contributes to an understanding of the ways in which digital infrastructure allows public access to the political undertaking of photography.
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Sarkar, Asmita, et Aileen Blaney. « Material Metaphor and Reflexivity in Contemporary Painting : A Practice-based Investigation ». Journal of Aesthetic Education 57, no 1 (1 avril 2023) : 98–119. http://dx.doi.org/10.5406/15437809.57.1.07.
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Abstract Contemporary painting is a complex practice, and artists regularly incorporate elements from different media such as photography, textile, and performance. Despite its status being diminished by different conceptual art movements, painting still has a critically important place in the artworld. This importance is largely due to painting's ability to stretch across media and make a direct appeal to the senses. In this article, an attempt is made to theorize the facility of painting to incorporate different media and its resulting reflexivity. Maurice Merleau-Ponty's theory of embodiment and phenomenological theory of metaphor provide the theoretical means to articulate reflexivity in painting. Curatorial writing about contemporary painting and case studies of young painters from India form a backdrop for the analysis of examples from the painting practice of one of the authors to demonstrate the material dynamism of painting. It is shown that this reflexivity is intimately related to the sensuous texture of materials used in the creation of the paintings under discussion. The first-person narrative of artistic process and production provides insight into the embodied process of making and manipulating media and evidence that painters can create new insights about the ontology of painting.
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Handler Spitz, Ellen. « Book Review : MIRRORS OF MEMORY : FREUD, PHOTOGRAPHY, AND THE HISTORY OF ART. By Mary Bergstein. Ithaca : Cornell University Press, 2010, 335 pp., $29.96 ». Journal of the American Psychoanalytic Association 58, no 6 (décembre 2010) : 1220–25. http://dx.doi.org/10.1177/0003065110392035.
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CURRELL, SUE. « You Haven't Seen Their Faces : Eugenic National Housekeeping and Documentary Photography in 1930s America ». Journal of American Studies 51, no 2 (mai 2017) : 481–511. http://dx.doi.org/10.1017/s0021875817000366.
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This essay explores the relationship between welfare, eugenics and documentary photography during the New Deal in order to explain how a set of government photographs taken by Arthur Rothstein in the Shenandoah became entwined in the rhetorical structure of eugenic ideology. The photographs discussed portray victims of forced sterilization before their incarceration, yet there is no evidence to show that the photographer was aware of, or complicit with, this fact. This essay responds to the questions this raises about the images: what historical and social contingencies were behind their production? What is the relationship between the photographer, the photographs, the New Deal and the subjects depicted? How did efforts to help America's poorest lead to their incarceration and sterilization? Why is the full picture impossible to see? And how do we read and understand them today?
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Huerta, Ricard, et Ricardo Domínguez. « La educación artística de la era digital : investigar en escenarios tecnológicos ». eari. educación artística. revista de investigación, no 10 (20 décembre 2019) : 9. http://dx.doi.org/10.7203/eari.10.16111.
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Resumen: Los retos que impone el nuevo escenario digital nos animan a reflexionar sobre las posibilidades de la Educación Artística en un momento histórico en el que combinamos momentos educativos presenciales junto a desubicaciones online. Las tecnologías de la imagen, uno de nuestros mayores aliados como docentes, hace tiempo que irrumpieron en el aula de artes, y es por ello que en este número de EARI presentamos un dossier monográfico sobre “Cine y educación artística”. Pero tanto la fotografía como la imagen en movimiento han experimentado un increíble desarrollo tecnológico en manos de tantos usuarios como personas convivimos en el planeta. Los dispositivos móviles y los nuevos conceptos y usos digitales están incorporándose a todas las facetas de nuestras vidas, de modo que ya no podemos permanecer ajenos a esta urgencia educativa y artística. Por eso desde el grupo CREARI nos hemos implicado en el la organización del I Congreso Internacional Humanidades Digitales y Pedagogías Culturales, para avanzar en la búsqueda de posibilidades académicas en un mundo donde los videojuegos, las series de televisión, los videoclips musicales y las tendencias del arte digital están abanderando procesos complejos y tremendamente atractivos. Consideramos que el juego y la aventura forman parte intrínseca de nuestra rebeldía. No podemos permanecer ajenos a las nuevas prácticas y hábitos de la ciudadanía.
Palabras clave: arte, educación artística, investigación, formación de profesorado, humanidades digitales.
Abstract: The new digital scenario generates challenges that encourage us to reflect on the possibilities of Artistic Education in a historical moment in which we combine conventional educational moments with new online trends. Image technologies are one of our best allies as teachers. We have been incorporating them into the arts classroom for a long time. In this issue of the journal EARI we present a dossier on “Cinema and Art Education”. Both photography and the moving image have experienced an incredible technological development among as many users as we live together on the planet. Mobile technologies and new concepts for digital uses are being incorporating into all dimensions of our lives, so that we can no longer remain oblivious to this educational and artistic urgency. From the CREARI group we have been fully involved in the organization of the First International Conference of Digital Humanities and Cultural Pedagogies, to advance in the search for academic possibilities in a world where video games, television series, music videos and music trends Digital art are leading complex and tremendously attractive processes. We consider that game and adventure are a natural part of our rebellion. We cannot continue without addressing the new practices and habits of citizenship.
Keywords: Art, Art Education, Research, Teachers Training, Digital Humanities.
DOI: http://dx.doi.org/10.7203/eari.10.16111
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Kratz, Corinne A. « Afterword Uncertain trajectories and refigured social worlds : the image entourage and other practices of digital and social media photography ». Africa 89, no 2 (mai 2019) : 323–28. http://dx.doi.org/10.1017/s0001972019000032.
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Drawn from East, West, Central and Southern Africa, the case studies in this special issue build on several decades of important work on photography in Africa. That work has examined colonial photography and postcards, studio work from colonial times to the present, activist photography, photojournalism, and artists who work with photographic images. It has addressed issues of representation, portraiture, aesthetics, self-fashioning, identities, power and status, modernities and materiality, the roles of photographs in governance and everyday politics, and the many histories and modes of social practice around making, showing, viewing, exchanging, manipulating, reproducing, circulating and archiving photographic images. Yet these articles push such issues and topics in exciting directions by addressing new photographic circumstances emerging throughout the world, initiated through new media's technological shifts and possibilities. In Africa, this has fuelled a range of transformations over the last fifteen years or so, transformations that are still unfolding. As the articles show, digital images, mobile phone cameras and social media (also accessed via phone) constitute the potent triad that has set off these transformations.
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Korola, Katerina. « The Air of Objectvity ». Representations 157, no 1 (2022) : 90–114. http://dx.doi.org/10.1525/rep.2022.157.5.90.
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Focusing on Albert Renger-Patzsch’s photographs of the Zollverein colliery, this essay investigates the tension between the clarity of Renger-Patzsch’s aesthetic and the physical reality of the industrial environment in which he worked. In doing so, it offers an account of New Objectivity photography that is attentive to both the environment from which it emerged and the way in which photography, in turn, acted upon this environment. Placing particular stress on the clear contours and white backgrounds of these photographs, as well as their material and technical prerequisites, it argues that the radical clarity of Renger-Patzsch’s photographs is best regarded as an active intervention into a compromised environment, in which the photographer was called upon to bring forth clarity from the dust and smoke of industrial extraction.