History of Photography最新文献

{"title":"‘Picturing a Moment’: The Colonial Visions of Newspaper Photography in Early Twentieth-century Korea","authors":"Janet Poole","doi":"10.1080/03087298.2023.2228121","DOIUrl":"https://doi.org/10.1080/03087298.2023.2228121","url":null,"abstract":"This article explores the early introduction of photographic images to the daily newspaper in Korea in the second decade of the twentieth century. The technology of mass printing photographic images was pioneered by the Government General’s Korean-language newspaper, Maeil sinbo, in the years immediately after Japan’s colonial occupation began. The encounter between the two technologies of photography and printing thus developed within the broader context of colonial governmentality and the simultaneous emergence of modern structures of the archive and the individual. Exploration of the first published snapshot series offers a case study of the entanglement of modern technologies in the social relations of early photographic images. Reading the snapshot series today reveals the contours of a politics and aesthetics of colonial visuality, which was to long outlive the only apparently trivial series.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"118 - 139"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42253038","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"See/Saw: Looking at Photographs, Essays 2010–2020","authors":"Brian Stokoe","doi":"10.1080/03087298.2023.2186064","DOIUrl":"https://doi.org/10.1080/03087298.2023.2186064","url":null,"abstract":"Geoff Dyer’s interest in photography began not so much by looking at photographs or by making them, but by reading what other people had written about them. Susan Sontag, Roland Barthes and John Berger emerge as key influences on Dyer’s own critical responses to the medium. This collection brings together more than fifty such responses drawn from a decade of short reviews and longer essays in which Dyer engages in a series of close readings of photographs by August Sander, Alvin Langdon Coburn, Eug ene Atget, Dennis Hopper and Lee Friedlander, to name some of the more famous. Such writing may well have begun as a sideline but is now the author’s ‘main sideline’, and Dyer has himself become a thinker of influence, not least because of his earlier books The Ongoing Moment (2005) and The Street Philosophy of Garry Winogrand (2018). This volume will no doubt further enhance his reputation as a thoughtful, amusing and idiosyncratic observer of photography. Dyer claims to have no method: ‘I just look, and think about what I’m looking at’, a statement that manages to be simultaneously disingenuous and modest as the author’s methodology is in fact revealed in some detail as this anthology proceeds. See/Saw’s real introduction – what he calls an ‘after-intro’ – appears only in the latter stages when discussing the work of Roland Barthes and, particularly, John Berger, the subject of his first book, Ways of Telling (1986). Dyer holds Berger in high regard and the latter’s ‘interrogation of the visible’ is evident in much of his writing as he attempts to closely examine precisely what he is looking at, from the multiple perspectives of history, culture, technology and art. Barthes and Berger shared the same quest, he says, ‘to articulate the essence of photography’, but their importance for any ontology of the photographic image seems less important than their epistemological enquiries. With all the information, sometimes unintended, provided by photographs – what Barthes termed their ‘analogical plenitude’ – just what kind of knowledge might we confidently derive from them? Indeed, how can a machine designed specifically to record the surface appearance of the world contribute to our understanding of its deeper, underlying processes? Dyer cites Berger’s essay on Sander, ‘The Suit and the Photograph’ (1979), as exemplary. While most studies of Sander have understandably focused on his overall project, here was a thoroughgoing examination of only a few images, abstracted from their immense entirety: a historically informed sociology of the image. Berger’s method was to write about the obvious as if it was important, reckoning on the fact that it usually is, and both Berger and Dyer share a sense of being driven by an intense curiosity. As Dyer remarked in a recent interview, ‘The most important skill a writer can have is curiosity [... ] It’s always been a source of surprise to me that","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"220 - 223"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48237996","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Artwork Reproductions in Polish Identity Building after World War II","authors":"Dorota Łuczak, A. Paradowska","doi":"10.1080/03087298.2022.2112470","DOIUrl":"https://doi.org/10.1080/03087298.2022.2112470","url":null,"abstract":"Reproductions of artworks were a crucial element of official narratives aimed at shaping Polish identity after World War II. In this article, we explore the strategies employed in constructing visual messages in the first volume of the book series Ziemie Staropolski (Old Poland’s Territories) titled Dolny Śląsk (Lower Silesia), published in 1948 and devoted to the Western territories ceded to Poland after the war. In our case studies, we discuss such aspects as, on the one hand, framing, lighting, viewpoint and selection; on the other, geographical, political and social contexts. We propose two notions to explain the political use of reproductions. The first is geohistorical medium, which we employ in reference to how reproductions actualise the meanings of artworks in relation to geography and history. The second is affective reproduction, which we use to address deliberately shocking arrangements of reproductions with photographs that include ruins, artworks or people. We emphasise that both strategies aim at a specific group of viewers whose experiences oscillate between memories of war and hopes for the future. The reproductions we discuss participated in the construction of the postwar geopolitical order in Central Europe.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"60 - 72"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47738689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cultural Capital and Photographic Technologies at the Berlin Photographic Company in the USA","authors":"J. Codell","doi":"10.1080/03087298.2023.2175979","DOIUrl":"https://doi.org/10.1080/03087298.2023.2175979","url":null,"abstract":"In this article I explore photogravure catalogues of the Berlin Photographic Company (BPC), a print publisher founded in 1862 specialising in reproductions of works of art, and in particular those published by its New York office from 1892 to 1916. In promoting its reproductions, the BPC connected social, aesthetic and technical knowledge, emphasising the quality of photogravure technologies while listing hundreds of images from diverse styles, historical periods, genres and subjects to appeal to a wide audience. The Company was sensitive to its customers’ cultural aspirations and recognised that the US market was different from that in Europe because of its less rigid class structure and a public motivated by ambitions for cultural knowledge and social mobility. With its wide range of reproductions from Old Masters, nineteenth-century popular and Academic artists, and later early twentieth-century modernists, the BPC appealed to these ambitions by providing photogravure prints – the company specialty – in different sizes, mounts and costs to a public of diverse tastes and economic means. The BPC’s innovations included its global locations in Berlin, Paris, London and New York and its creation of neologisms combining format and process tying the materiality of photogravures to a range of sizes and prices.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"42 - 59"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48351785","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Manet and Photography: Looking at Olympia","authors":"Kathryn Kremnitzer","doi":"10.1080/03087298.2023.2180229","DOIUrl":"https://doi.org/10.1080/03087298.2023.2180229","url":null,"abstract":"Édouard Manet’s life and work have been studied using photographic sources that provide essential yet still underutilised information about his oeuvre and artistic process. Beginning in the 1860s, Manet employed the firm of Anatole Godet to photograph his paintings, probably as records of stock, and this article considers how Manet may have used these photographs as the basis for tracings and watercolours that served as intermediaries in the production of etchings after several of his canvases. Godet also photographed the posthumous retrospective of Manet’s work in 1884, providing the only known images of that landmark exhibition. After Manet’s death, Léon Leenhoff, the son of Manet’s wife Suzanne Leenhoff, hired Fernand Lochard to photograph works remaining in the artist’s studio, and in several other locations, to illustrate a corresponding inventory. The photographs were annotated by Léon with information about each work including its exhibition history and bound into albums. While select scholars have engaged with these important materials, Manet’s use of photography and the role photography played in the posthumous dissemination of his works remain insufficiently understood. Taking Olympia as a case study, this article aims to demonstrate how these archival sources contribute to Manet studies.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"20 - 30"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46730534","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Panoramic Ambitions: Collecting Rubens’s Oeuvre in Reproduction, 1877–1927","authors":"G. Bonne","doi":"10.1080/03087298.2023.2178745","DOIUrl":"https://doi.org/10.1080/03087298.2023.2178745","url":null,"abstract":"The art historical congress organised for the 1877 Rubens Year in Antwerp led to the establishment of a committee to collect Rubens’s works through engraved and photographic reproductions (1880–1910). Arguing that the art historical notion of oeuvre originated from the increasing reproducibility of works of art, this article contextualises the Committee’s collection and the fifty-year history of its public display. It does so to reveal the changing perception of graphic and photographic reproductions between the end of the nineteenth century and the interwar period. Whereas the two technologies were originally used interchangeably to obtain a comprehensive picture of Rubens’s oeuvre, they were eventually understood to fulfil separate functions; the first artistic, the second documentary. As a consequence, the Antwerp collection of Rubens’s oeuvre became dispersed.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"31 - 41"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49288339","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reproductions, a Special Issue of History of Photography","authors":"Sofya Dmitrieva, Dominique de Font-Réaulx, M. Henning, Patrizia Di Bello","doi":"10.1080/03087298.2023.2202519","DOIUrl":"https://doi.org/10.1080/03087298.2023.2202519","url":null,"abstract":"This special issue is a result of the conference Photographic Art Reproductions, from 1839 to the Present, held online on 23 July 2021 by the University of St Andrews (UK) and the Centre Andr e Chastel (France). A roundtable discussion between Dominique de Font-R eaulx, Patrizia Di Bello, Michelle Henning, Kim Timby and Sofya Dmitrieva closed the conference. By way of an introduction, we publish here a version of this conversation, based on questions subsequently submitted by Sofya Dmitrieva to the speakers.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"1 - 8"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42415460","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Numbering The Ladies Waldegrave: Questions of Status and Display","authors":"Madeleine Page","doi":"10.1080/03087298.2022.2102287","DOIUrl":"https://doi.org/10.1080/03087298.2022.2102287","url":null,"abstract":"At first glance, it appears as though Sir Joshua Reynolds’s The Ladies Waldegrave (1780) is in two places at once: Strawberry Hill House and the National Gallery, Edinburgh. Despite their visual indistinguishability, however, the former is a copy of the latter created by Factum Foundation in 2018. In this article, I discuss the ontological relation between paintings and their visually indistinguishable facsimiles, along with certain consequences that relation has for display practices. Traditionally, paintings are understood to be ontologically singular; no copy, however faithful, can ever stand in as the work itself. Using The Ladies Waldegrave, I defend ontological singularity while maintaining that these visually indistinguishable facsimiles can be used to promote engagement with, and a better understanding of, originals. Drawing on the philosophical idea that objects have temporal parts, I suggest that what I call suitable facsimiles – copies that are visually indistinguishable from originals – are representations of particular temporal parts of those originals. My proposal allows paintings to maintain their singularity while acknowledging that some copies share a special relationship with the originals such that the former can stand in for the latter. I conclude by considering issues concerning the display of both originals and suitable facsimiles.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"9 - 19"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42464907","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Coming into Visibility in the Indian Ocean","authors":"Yvette Christiansë","doi":"10.1080/03087298.2021.2145050","DOIUrl":"https://doi.org/10.1080/03087298.2021.2145050","url":null,"abstract":"This article discusses photographs in the Seychelles archive of Liberated Africans and in the Mauritian archive of identity documents for indentured Indians or Indian Immigrants. It considers the heterogeneity of their movement in two related contexts, when territorial boundaries and new definitions of labour and photography were drawn into assertions of state and colonial British authority. In the Seychelles, ‘passport-sized’ photographs were fixed and immobile in the Register of Liberated Africans. In Mauritius, identity photographs were attached to documents which individuals carried to prevent what we now call ‘identify theft’ and falsification. At issue is the differential mobility of the images and what they reveal about the circumstances in which ‘free’ people were trapped in and by a British colonial state bureaucracy determined to curb the ‘lawlessness’ of settlers, only to be drawn into an entangled complicity with those it sought to regulate. When European powers were consolidating territorial jurisdictions and boundaries by policing movement across the liquid domain of the Indian and Atlantic oceans, the ‘coming into visibility’ that photography afforded and demanded worked to differentially restrict the movements of racially marked people and to make movement itself the medium of State authority over local capitalists.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"231 - 244"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45199091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Death Squad Dossier: Counterrevolutionary Policing, Photographs of Disappearing Identities and Evidentiary Aesthetics in Postwar Guatemala","authors":"J. Mazariegos","doi":"10.1080/03087298.2022.2118435","DOIUrl":"https://doi.org/10.1080/03087298.2022.2118435","url":null,"abstract":"This article is concerned with photographic images and identity photographs utilised for military counterinsurgent policing in Guatemala City during the civil war (1960–96), in the context of Latin America’s Cold War. The article explores the historical conditions that made militarised policing and its photographic record possible in Guatemala, focusing on a dossier produced in the early 1980s known as Diario Militar. The article pays attention to aesthetic and evidentiary regimes that rely on the indexical force of photographs under circumstances in which indexicality fails. In doing so, it elaborates on counterrevolutionary policing as a way of seeing and not being seen, producing photographic images that at once identify political subjects and attempt to disappear their identities, and how these photographic imaginaries are being re-signified in contemporary struggles for justice in postwar Guatemala.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"351 - 362"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47674603","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}