History of Photography最新文献

{"title":"Photography of Protest and Community: The Radical Collectives of the 1970s","authors":"Samuel Ewing","doi":"10.1080/03087298.2021.2079232","DOIUrl":"https://doi.org/10.1080/03087298.2021.2079232","url":null,"abstract":"In February 1976, the inaugural issue of the photography journal Camerawork ran a ‘Statement of Aims’ on its back cover, spelling out the ambitions of its freshly minted editorial team. Dedicated to forging new connections between photography and politics, the statement’s authors declaim that ‘Our central concern in photography [... ] is not “Is it art?” but, “Who is it for?”’ Photographic historian Noni Stacey draws readers’ attention to this particular statement early on in her book, viewing it as a keystone to understanding the lasting contributions of a number of photography collectives that emerged in 1970s London. These collectives, and the development of a mode of photographic production that Stacey identifies as ‘community photography’, are the subject of this archivally rich publication. Indeed, the great strength of Stacey’s book derives from the way she delves deep into the pragmatic, and often unresolved, debates of these practitioners themselves as they sought to build a politically viable photographic practice within Britain’s marginalised and underserved communities. Across six chapters, Stacey focuses on the most notable groups engaged in community photography during this period: those associated with the Half Moon Photography Workshop and affiliated journal Camerawork; the Hackney Flashers; the Exit Photography Group; the North Paddington Community Darkroom (NPCD); and the Blackfriars Photography Project (BPP). What readers encounter is a series of detailed microhistories that together sketch the contours of a practice that sparked heated critical and theoretical debates among politically committed photographers that extended far beyond its initial point of emergence. Photography of Protest and Community: The Radical Collectives of the 1970s had its genesis as a doctoral thesis, and the archival research and oral histories compiled by Stacey will remain a lasting contribution of this text. Stacey has a remarkable ability to let the tensions, contradictions and difficulties encountered by her protagonists remain a central part of the history, underscoring the rich complexity of community photography. By quoting her subjects liberally throughout the book, Stacey gives her readers the opportunity to grapple with a new corpus of primary sources. Above all, the approach indicates Stacey’s interest in the specificity of photographic practice rather than the theoretical battles that typically accompany such radical practices. In this way, scholars on the subject will view Stacey’s book as a welcome complement to other studies of the era’s politicised documentary practitioners, such as artist and curator Jorge Ribalta’s Not Yet: On the Reinvention of Documentary and the Critique of Modernism, 1972–1991 (2015). Chapter one lays the broad historical and methodological groundwork for the case studies that follow, beginning by distinguishing ‘community photography’ from other traditions of documentary practice. At its core, Stacey’s definiti","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"202 - 204"},"PeriodicalIF":0.2,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43496814","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":"Electrifying Daguerreotypes: On Correlations Between Electricity and Photography around 1840","authors":"P. Trnkova","doi":"10.1080/03087298.2022.2062907","DOIUrl":"https://doi.org/10.1080/03087298.2022.2062907","url":null,"abstract":"This article considers the daguerreotype and electricity as the key driving forces in the early histories of photography and photomechanical reproduction. Drawing on three examples – daguerreotype electrotypes, galvanically etched daguerreotypes and the etching process developed by Hippolyte Fizeau – the article aims to demonstrate how closely they were connected and how much interest they raised among scientists and photographers in the early 1840s, particularly in France, Britain and the German-speaking countries. The article shows in what ways the three processes were employed and who developed and used them, which institutions and learned societies were involved in their progress and which theoretical concepts and discussions they gave rise to. Although all three were only short-lived technologies and were largely forgotten by the end of the 1850s, they are more than mere curiosities, as they contribute significantly to our better understanding of the earliest histories of photography and photomechanical reproduction.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"111 - 127"},"PeriodicalIF":0.2,"publicationDate":"2021-04-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41895671","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":"Peeping into China: The Twofold Circulation of Georges Morache’s Photographs of Beijing (1865–2003)","authors":"Édouard de Saint-Ours","doi":"10.1080/03087298.2021.1999073","DOIUrl":"https://doi.org/10.1080/03087298.2021.1999073","url":null,"abstract":"This article traces the circulation of photographs taken in Beijing in 1865 and 1866 by Georges Morache, a medical doctor stationed at the French legation. Including sights of the city, portraits and staged outdoor scenes depicting local trades, these pictures were disseminated from the mid-1870s in two directions simultaneously. While they were issued for about twenty-five years as wood-engraved reproductions in illustrated travel publications, they also circulated up until 2003 as prints and lantern slides within anthropological institutions. This article examines the diverse material and semiotic adaptations that these photographs were subjected to along their twofold circulation. Not only verifying the mutability of photographic meaning, this case also highlights affinities between the concerns of institutionalised anthropology, popular education and illustrated travel publications in the late nineteenth century. Ultimately, the dynamic circulation of these photographs in the West fulfilled a popular desire to scrutinise Chinese people and culture – a desire that was contingent on the informal empire upheld by western powers in China since the Opium Wars.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"34 - 52"},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43608156","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 Utopia of Circulation: The International Society of Pictorial Photographers","authors":"Julien Faure-Conorton","doi":"10.1080/03087298.2021.2019386","DOIUrl":"https://doi.org/10.1080/03087298.2021.2019386","url":null,"abstract":"This article, examining the circulation of prints, letters and ideas in the context of Pictorialism, deals with an ambitious but long-forgotten federation, the International Society of Pictorial Photographers. Founded in 1905 but almost immediately abandoned, this utopian project to simplify the organisation of international exhibitions did not alter the future of pictorial photography as it was intended to do. Studying its origins, creation and rules, and revealing the causes of its failure, this article sheds light on the politics of Pictorialism and examines one of its most ambivalent characteristics, namely the defence of national interests within a movement relying mostly on international collaboration. It also shows the central role played by Robert Demachy (1859–1936) and Alfred Stieglitz (1864–1946) in the matter. Despite its disappointing outcome, this story is that of a remarkable exchange of opinions, through sustained correspondence and texts, dealing mainly with the circulation of prints, among members of a global photographic network.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"53 - 63"},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47320448","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":"Documentary in Dispute: The Original Manuscript of Changing New York by Berenice Abbott and Elizabeth McCausland","authors":"Michel Hardy-Vallée","doi":"10.1080/03087298.2021.1997200","DOIUrl":"https://doi.org/10.1080/03087298.2021.1997200","url":null,"abstract":"Despite its popular and critical success, the photographic book Changing New York as it appeared in 1939 has long been known to have compromised the intentions of photographer Berenice Abbott and writer Elizabeth McCausland because of the imperatives of the publisher, E. P. Dutton. First conceived by the authorial couple as a formally innovative and visually arresting tapestry of text and image about the rapidly transforming metropolis, the volume ultimately sold to the visitors of the New York World’s Fair ended up as a much more conventional guidebook to the city. Abbott’s selection of photographs, despite a number of cuts, survived the editorial process better than did McCausland’s captions, which were rewritten beyond recognition by the publisher, her name relegated to the inside cover. In reproducing most of the relevant primary evidence of this process alongside a perceptive study of the core ideas animating Abbott and McCausland at that time, Sarah M. Miller facilitates a fuller understanding of what Changing New York could have been and its role in the construction of documentary photography in the USA. A contributed essay by Julia Van Haaften and Gary Van Zante also gives an overview of Abbott’s archival habits and the afterlife of her massive trove of materials, as well as insights into the dynamics of her working partnership with McCausland. As a whole, Documentary in Dispute pays remarkable and detailed attention to the tensions that changed Changing New York, but it is debatable whether it delivers ‘the original manuscript’, and to what extent such a term applies to the present case. Upon returning to the USA in 1929 after eight years in Paris, Berenice Abbott reoriented her photographic practice from portraiture to portraying the urban landscape of New York. Skyscrapers sprouting as if overnight and the upheavals of the Great Depression were profoundly affecting the built and lived space of the city. Her 1934 solo exhibition at the Museum of the City of New York showed the originality of her approach inspired by both social sciences and surrealism, which caught the eye of art critic Elizabeth McCausland. When Abbott was granted support from the Federal Arts Project of the Works Progress Administration, she was able to put all her energies into her ‘Changing New York’ project and hire assistants to produce her photographic survey of change, transformation and juxtaposition in the urban environment. A second exhibition at the Museum of the City of New York in 1937 and the approaching 1939 World’s Fair convinced E. P. Dutton to contract with the Works Progress Administration to publish photographs from Abbott’s project. Although she had initially planned to publish her Works Progress Administration photographs alongside older ones, Abbott was restricted to the ‘Changing New York’ corpus, but she was now able to hire McCausland to write the captions. Together, they prepared a first proposal for the book that included a twenty-three-page","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"103 - 105"},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46226360","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":"Circulating Photomontage: The Appropriation of Soviet Visual Material by French Communist Networks, 1928–1936","authors":"Max Bonhomme","doi":"10.1080/03087298.2021.2004018","DOIUrl":"https://doi.org/10.1080/03087298.2021.2004018","url":null,"abstract":"Intended to promote the success of rapid industrialisation, especially at the time of the first Five-Year Plan (1928–32), Soviet photography was disseminated to other countries through the networks of the Communist International. The circulation of Soviet photographs in the press helped define a specifically communist visual culture, characterised by idiosyncratic visual tropes and graphic treatment of images through photomontage and dynamic page layout. This article highlights the role of graphic designers and illustrators in the development of political photomontage in France, particularly through periodicals associated with the Communist Party such as Regards and the Almanach ouvrier et paysan. These illustrated publications often borrowed their iconography and innovative page layout directly from Soviet magazines such as USSR in Construction. By showing how images have been appropriated and transformed, I suggest that communist editors in the early 1930s encouraged a type of militant participation that challenged individual authorship.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"64 - 77"},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45830774","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 Second Life for the Snapshots of Elizabeth Howe Bliss","authors":"K. Fogle","doi":"10.1080/03087298.2021.2010371","DOIUrl":"https://doi.org/10.1080/03087298.2021.2010371","url":null,"abstract":"Focusing on the output of Elizabeth Howe Bliss, a Progressive Era travelling social worker, this article explores the snapshots Bliss made in New York City, Oklahoma and France. Although circulated in her own time, Bliss’s images and their publication history have only recently been rediscovered. They deserve further analysis as they illuminate the practices of women using photography personally and professionally during the early decades of the twentieth century, and for their value to researchers of photographic history and beyond. This article argues for the importance of recirculating Bliss’s snapshots – as well as other forms of vernacular imagery – through the digital dissemination made possible by platforming these photographic materials online within virtual spaces, and considers the specifics of one such platform, the Smithsonian Learning Lab.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"92 - 100"},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42046399","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":"‘The Pictures Which We Publish To-Day Are Fearful to Look Upon’: The Circulation of Images of Atrocity During the American Civil War","authors":"A. Cross","doi":"10.1080/03087298.2021.1993621","DOIUrl":"https://doi.org/10.1080/03087298.2021.1993621","url":null,"abstract":"This article explores the circulation of photographs of prisoners of war that were taken at the US General Hospital in Annapolis, Maryland in 1864. More specifically, it considers the publication of these images as wood engravings in Harper’s Weekly’s illustrated newspaper as part of a broader network of photographic circulation, and the circulation of images of atrocity during the American Civil War. This project follows recent interventions in photographic history that have emphasised reproduction and circulation, and that have decentred the photographic print as the primary site for the production of meaning. By examining the multiple visual and narrative contexts in which photographs of the Annapolis prisoners appeared, including as wood engravings in Harper’s Weekly, this article reveals how divergent meanings were ascribed to the images, as both the press and the public sought to make sense of the prisoners’ deterioration and to use their images for political purposes. Ultimately, the article employs circulation as a methodology to understand how audiences used photographs to make sense of the seemingly ineffable trauma and devastation of the American Civil War. This project also demonstrates how Harper’s Weekly relied upon an existing public archive – of text and images, particularly cartes de visite – to report the news and to further its rhetorical position. It is important to highlight that the images in this article are disturbing. They show men in states of significant emaciation and were presumably taken without full consent. These pictures are shown as part of an effort to understand the ways in which images of atrocity were circulated in the nineteenth century, and, as such, requires that we consider the appropriateness of publishing and exhibiting such images both then and now. A question of care and of an ethics of looking must be at the forefront of this critical engagement.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"20 - 33"},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46666786","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":"Ten Dollar Faces: On Photographic Portraiture and Paper Money in the 1860s","authors":"Matthias Gründig","doi":"10.1080/03087298.2021.1989904","DOIUrl":"https://doi.org/10.1080/03087298.2021.1989904","url":null,"abstract":"Paper photography and paper money share a common history, especially in the context of the USA in the 1860s, a commonality explored by this article. The interconnection of the two media was first addressed by Oliver Wendell Holmes’s metaphorical description of cartes de visite as ‘sentimental “green-backs” of civilization’. This article focuses on Abraham Lincoln’s public image as presidential candidate, one that was heavily influenced by the new craze for cartes de visite. At the same time, the advent of modern paper money as we know it is marked by the introduction of Demand Notes or so-called greenbacks, of which the ten-dollar denomination showed Lincoln’s portrait after a photograph. Medial intersections between paper money and photography are taken into consideration in more theoretical terms, before a concluding section sets out the wider context of photography’s involvement in the emergence and early turbulences of early national paper currencies in the Civil War era.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"5 - 19"},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48645323","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":"Circulating Photographs: A Special Issue of History of Photography","authors":"M. Pelizzari, Steffen Siegel","doi":"10.1080/03087298.2021.2020461","DOIUrl":"https://doi.org/10.1080/03087298.2021.2020461","url":null,"abstract":"Among the most astonishing documents of photography’s formative period is a short letter written by Laura Mundy on 12 December 1834. In just a few words, she thanked her cousin William Henry Fox Talbot ‘for sending me such beautiful shadows’. As the letter continues, it becomes apparent that Talbot had been sending her the first samples of his ‘Photogenic Drawings’ for several months; however, these ‘shadowy’ pictures were so sensitive to light that it was time to replace them with fresh specimens: ‘I had grieved’, remarks Laura Mundy, ‘over the gradual disappearance of those you gave me in the summer & am delighted to have these to supply their place in my book’. This letter represents not only an early testimony of Talbot’s experiments with photographic technologies; quite incidentally, it also states that he made the results of this research the subject of a postal mailing. Yet it was not Talbot who was the first to go public with the results of his photographic research. This step was taken by the Frenchman Louis Jacques Mandé Daguerre when he presented the daguerreotype process. No textbook on the medium’s history would miss telling the events from Paris in 1839. However, it is less well known that Daguerre prepared small packages for a remarkably exclusive circle of addressees in the summer of that year. The Tsar of Russia, the Emperor in Vienna and the Kings of Bavaria and Belgium counted among them – but not, incidentally, the Queen of England, who refused such a gift. But it is more important to note that Daguerre, like Talbot, also made arrangements to use selected samples of his photographic process as objects of postal consignment. In this way, they were very quickly present in important cities of the European continent; and soon after they were on display, for instance in Vienna and Munich. These two anecdotes from photography’s early days may help to illustrate that photographic images were always conceived as mobile media – regardless of their specific material qualities. With photographic imagery, visual communication gained another important instrument that was especially suitable for use over great distances. And again, the often-quoted comparison with painting is also misleading, especially when we consider modes of circulation. If anything, the distribution of photographic images initially borrows from the established graphic arts. Soon, however, the pictorial practices associated with photographs will form specific forms of transmission, circulation and handling. Thus, circulation and mobility are modalities as old as photography. Yet we are still missing a history that discusses these acts of transmission as the critical framework for creating photographic meaning. Jennifer L. Roberts, in her brilliant study of early American art, has suggested a new methodological direction that places agency on the artworks rather than on their makers. In her pursuit of a new kind of spatial and cultural trajectory of art she studies ‘what","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"1 - 4"},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49576247","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}