Photographies最新文献_第10页

“Asian” photography in Australia 澳大利亚的“亚洲”摄影

Photographies Pub Date : 2021-01-02 DOI: 10.1080/17540763.2020.1856713

D. Palmer

引用次数: 0

Light from darkness, truth always rises: archiving memory and war trauma 光明从黑暗中升起，真相总是浮现:存档的记忆和战争创伤

Photographies Pub Date : 2021-01-02 DOI: 10.1080/17540763.2020.1847174

Loredana Pazzini-Paracciani

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引用次数: 0

Ruptured Shanshui: landscape composite photography from Lang Jingshan to Yang Yongliang 破裂的山水:从郎景山到杨永亮的景观合成摄影

Photographies Pub Date : 2021-01-02 DOI: 10.1080/17540763.2020.1859405

Kiu-Wai Chu

{"title":"Ruptured Shanshui: landscape composite photography from Lang Jingshan to Yang Yongliang","authors":"Kiu-Wai Chu","doi":"10.1080/17540763.2020.1859405","DOIUrl":"https://doi.org/10.1080/17540763.2020.1859405","url":null,"abstract":"Shanshui (mountains and waters) has been an important form of artistic expression in Chinese art since ancient times. With the introduction of photography in the early twentieth century, it has undergone several phases of changes. From the works of photographic artists Lang Jingshan, Yao Lu and Yang Yongliang, this article explores how shanshui aesthetics has been re-appropriated from classical ink-and-water paintings to modern photography over the past century. It is argued that modern and contemporary shanshui, being reinvented in the form of pictorial photo collage/composite photography, structures and shapes our perceptions through new perspectives. In the process, it has made some of the ideological ruptures visible, pushing shanshui to become socially, politically and environmentally reflexive in China’s times of transitions and crises. Unlike literati painters in the ancient times who deliberately avoided politics and instead immersed themselves in creating nature paintings as a form of escapism, Lang Jingshan’s composite photography subtly and intricately reflects the political ruptures experienced in China in the mid-twentieth century. Entering the twenty-first century, the emerging Anthropocene discourse is quickly reshaping our perceptions and the way art represents human-nature relationships. Contemporary artists like Yao Lu and Yang Yongliang create photographic shanshui collages that represent the excessively urbanized environments and observe the environmentally challenged social reality from both personal perspectives and beyond. From the political tensions we see in Lang Jingshan’s works since the 1950s, to the ecological crises in the Anthropocene epoch as reflected in Yao Lu and Yang Yongliang’s works, this paper reveals the ruptures hidden within modern and contemporary shanshui. It also shows how shanshui evolves under the camera lens and continues to be redefined according to ideologies of the time.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"3 - 14"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1859405","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42427561","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The photobook phenomenon: from the perspective of Taiwan photography history 从台湾摄影史看摄影书现象

Photographies Pub Date : 2021-01-02 DOI: 10.1080/17540763.2020.1847176

Yin-Hua Chu

{"title":"The photobook phenomenon: from the perspective of Taiwan photography history","authors":"Yin-Hua Chu","doi":"10.1080/17540763.2020.1847176","DOIUrl":"https://doi.org/10.1080/17540763.2020.1847176","url":null,"abstract":"This paper treats “photobook” as a metaphorical composition that implies the role of photographer-auteur, the juxtaposition of text and image, the editor’s decision on layout and sequence, as well as the designer’s and publisher’s performance on printed material. Such an approach of treating “photobook” as a visual account of history is closely linked to the distinct cultural background of Taiwan. As an island located in the centre of the East-Asian island arc, the western edge of the Pacific Ocean, and the southeast coast of the continent of Asia, Taiwan, also known as “Ilha Formosa”, has been governed by different colonial regimes in different periods of time, including the Netherlands, Spain, the Ming and Qing Dynasties, Japan, and the Republic of China. The production of photobooks in Taiwan history was inextricably intertwined with the cultivation of Taiwanese subjectivity that represented the shift from the colonialists’ perspective of this island to the diverse and multi-layered self-awareness. To identify the factors that led to these essential variations over the history of Taiwan photography, a chronological approach is imperative. Based on this insight, the discussion of this essay is chronologically structured in four parts: (1) from pre-1895 to the Japanese rule period (1895–1945); (2) from the great retreat to the White Terror (1945–1987); (3) from the lifting of martial law to the millennium (1987–2000); and (4) the 2000s and after.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"85 - 93"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1847176","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49414046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

EDITORIAL 编辑

Photographies Pub Date : 2020-09-01 DOI: 10.1080/17540763.2020.1794367

D. Bate

引用次数: 0

AFTER ROBERT FRANK’S PHOTOBOOK THE AMERICANS: REMAKES, VARIATIONS, AND ICONOCLASM 在罗伯特·弗兰克的摄影集之后，美国人:重拍，变化，打破传统

Photographies Pub Date : 2020-09-01 DOI: 10.1080/17540763.2020.1774919

N. Dietschy

引用次数: 1

SEEING DOUBLE: THE SUBJECT OF VISION IN LEE FRIEDLANDER’S SELF-PORTRAITURE 双重视觉:李·弗里德兰德自画像的视觉主题

Photographies Pub Date : 2020-08-11 DOI: 10.1080/17540763.2020.1779791

Surya Bowyer

{"title":"SEEING DOUBLE: THE SUBJECT OF VISION IN LEE FRIEDLANDER’S SELF-PORTRAITURE","authors":"Surya Bowyer","doi":"10.1080/17540763.2020.1779791","DOIUrl":"https://doi.org/10.1080/17540763.2020.1779791","url":null,"abstract":"American photographer Lee Friedlander’s photographs are often deemed to be unreadable. This critical assessment of his work is principally based on his manipulation of reflection, framing, and superimposition. This essay takes these manipulations as its subject. I suggest one method of reading the unreadable, focusing particularly on two self-portraits: Tallahassee, Florida 1969 and Madison, Wisconsin 1966. My approach weaves together the ideas of Jacques Lacan and Homi Bhabha. In the first section, I place Lacan’s concept of the stain into dialogue with the recurring appearance of Friedlander’s own shadow in his self-portraiture. In the second, I bring Bhabha into conversation with Lacan, showing crossovers in how they conceptualise reflections. I argue that Tallahassee and Madison visually articulate these crossovers. In the third, I use Bhabha’s concept of doubling to approach the two photographs’ delineation of the Lacanian gaze. In forging links between Friedlander, Lacan, and Bhabha, I propose two complementary ideas. The first is that Friedlander’s photographs help to illustrate commonality between Lacan’s and Bhabha’s work. The second is that Lacan and Bhabha help us read Friedlander’s often perplexing self-portraits. By expressing an absence of the self, these photographs comment on the impossibility of self-portraiture.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"13 1","pages":"323 - 339"},"PeriodicalIF":0.0,"publicationDate":"2020-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1779791","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45559507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

FRANCESCA WOODMAN: WATER SPECIFIED 弗朗西斯卡·伍德曼:指定的水

Photographies Pub Date : 2020-08-11 DOI: 10.1080/17540763.2020.1779792

Harrison Adams

引用次数: 0

THE TRAVELS OF PHOTOGRAPHS WITHIN THE GLOBAL IMAGE MARKET. HOW MONOPOLISATION, INTERCONNECTEDNESS, AND DIFFERENTIATION SHAPE THE ECONOMICS OF PHOTOGRAPHY 照片在全球影像市场的传播。垄断、相互联系和差异化是如何塑造摄影经济学的

Photographies Pub Date : 2020-08-11 DOI: 10.1080/17540763.2020.1774917

Evelyn Runge

引用次数: 2

ALBERTO BARAYA’S DECOLONIAL AND POSTTRAUMATIC PHOTOGRAPHY: DISPLACED DIFFERENCE AND CULTURAL TRAUMA 阿尔贝托·巴拉亚的非殖民和创伤后摄影:流离失所的差异和文化创伤

Photographies Pub Date : 2020-08-11 DOI: 10.1080/17540763.2020.1774920

J. Guerrero-Hernández

{"title":"ALBERTO BARAYA’S DECOLONIAL AND POSTTRAUMATIC PHOTOGRAPHY: DISPLACED DIFFERENCE AND CULTURAL TRAUMA","authors":"J. Guerrero-Hernández","doi":"10.1080/17540763.2020.1774920","DOIUrl":"https://doi.org/10.1080/17540763.2020.1774920","url":null,"abstract":"In dialogue with ongoing discussions about decolonization of trauma theory that account for cultural trauma and sustained and long trauma processes, this paper discusses Alberto Baraya’s series Service Included (1997) in order to identify decolonial challenges and possibilities for posttraumatic photography. It argues that this series is a performative work that proposes a critical and decolonial revision of trauma culture, by appropriating the symbolic dimensions of Spanish-Catholic motifs of sacred violence historically and currently employed as cultural mechanisms for representation of cultural trauma in Colombia. This paper recovers and discusses Baraya’s early, forgotten work and original appropriation of analogue photography operations with analogue photography, and proposes that the challenges Service Included offer for posttraumatic photography consist in both retracing symbolic active processes for dealing with trauma, and retracing photography’s history as a medium of expression of cultural trauma, in order to create spaces for “displaced difference” within cultural trauma and trauma culture.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"13 1","pages":"341 - 364"},"PeriodicalIF":0.0,"publicationDate":"2020-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1774920","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45002620","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0