Photographies最新文献_第5页

A critically methodological approach: reading closely the Instagram profile of a photojournalist 一种批判性的方法论方法：仔细阅读一位摄影记者在Instagram上的个人资料

Photographies Pub Date : 2022-09-02 DOI: 10.1080/17540763.2022.2096678

Sini Kaipainen

引用次数: 0

More-than photography and sculpture: a diffractive reading 不仅仅是摄影和雕塑：衍射解读

Photographies Pub Date : 2022-09-02 DOI: 10.1080/17540763.2022.2108885

Jane Vuorinen

{"title":"More-than photography and sculpture: a diffractive reading","authors":"Jane Vuorinen","doi":"10.1080/17540763.2022.2108885","DOIUrl":"https://doi.org/10.1080/17540763.2022.2108885","url":null,"abstract":"In historical and theoretical writings on photography and sculpture, the two media are mostly addressed separately, with some points of overlap. The aim of this article is to examine artworks by contemporary artists Rachel de Joode and artist duo Nerhol from the hypothesis that they are not either photography or sculpture, but both and even more. They occupy new spaces, both material/physical and conceptual, reaching dimensions that are more-than: more than photography and more than sculpture. I aim for a renewed understanding of these media through diffractive reading, an approach with roots in feminist and new materialist discourse. Diffractive reading is about understanding things through each other, rather than finding meaning through preconceived static oppositions. As the artworks analyzed are understood as material-discursive practices, the theoretical and historical backgrounds of both photography and sculpture become increasingly relevant. How can and how should photography and sculpture be theorized as expanding fields? How do their ways of making meaning differ from each other and how do they converge? Through diffractive reading, photography and sculpture are not understood as two separate strands of practice coming together, but rather as manifestations of hybrid identities within the same artwork.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"405 - 423"},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47974809","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

Joint spectatorship: collective experiments with photography 共同观看:摄影的集体实验

Photographies Pub Date : 2022-09-02 DOI: 10.1080/17540763.2022.2096680

Noam Gal

引用次数: 0

On the ruined image: questioning the materiality of the photograph and its role in depicting the process of recollection 论被毁的影像:质疑照片的物质性及其在描述回忆过程中的作用

Photographies Pub Date : 2022-09-02 DOI: 10.1080/17540763.2022.2096676

Ceidra Moon Murphy

引用次数: 0

Classifying the Cartozians: rethinking the politics of visibility alongside Ottoman subjecthood and American citizenship 对卡特曼人进行分类:与奥斯曼主体性和美国公民身份一起重新思考能见度政治

Photographies Pub Date : 2022-09-02 DOI: 10.1080/17540763.2022.2108886

Zeynep Devrim Gürsel

引用次数: 0

Editorial Note, 15.3 编辑注释，15.3

Photographies Pub Date : 2022-09-02 DOI: 10.1080/17540763.2022.2112386

Liz Wells

引用次数: 0

Portrait of a commercial traveller (photographic): George Jobson (1862–1925) 一位商业旅行者的肖像（摄影）：乔治·乔布森（1862-1925）

Photographies Pub Date : 2022-05-04 DOI: 10.1080/17540763.2022.2060293

I. Baird

{"title":"Portrait of a commercial traveller (photographic): George Jobson (1862–1925)","authors":"I. Baird","doi":"10.1080/17540763.2022.2060293","DOIUrl":"https://doi.org/10.1080/17540763.2022.2060293","url":null,"abstract":"Recent work in the study of photographic technology and the UK photographic industry has touched upon national distribution networks in addressing relationships between manufacturing and retail. Facilitating these networks was a small number of specialised commercial travellers. As a case study toward understanding these individuals, it is discussed here how George Jobson, with an early career as a typical photographer’s assistant of the Victorian era, went on to develop two additional careers as an inventor and as a commercial traveller specialising in photographic equipment and supplies. Some of Jobson’s forgotten work as a professional photographer is also identified and contextualised by drawing on a large number of primary sources. It is discovered among other findings that he worked in the US for the prominent Syracuse NY photographer Philip S. Ryder. Jobson’s subsequent contributions to photographic technology are discussed and contextualised. While the historiographical approach applied is individual, personal (familial), chronological, and empirical, I suggest that this study can be viewed as an indicator of the strengths and weaknesses of an interdisciplinary (photographic, patent-based, and industrial) approach as a means of understanding figures like Jobson, for whom photographic, archival and other records are scarce and fragmented.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"241 - 264"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47270010","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

Creative and crime scene photography: staged patricide and matricide as screen memories in Aida Chehrehgosha’s To Mom, Dad and My Two Brothers 创意和犯罪现场摄影：Aida Chehrehgosha的《致妈妈、爸爸和我的两个兄弟》中上演的弑父和弑母作为屏幕记忆

Photographies Pub Date : 2022-05-04 DOI: 10.1080/17540763.2022.2060291

Aténé Mendelyté

{"title":"Creative and crime scene photography: staged patricide and matricide as screen memories in Aida Chehrehgosha’s To Mom, Dad and My Two Brothers","authors":"Aténé Mendelyté","doi":"10.1080/17540763.2022.2060291","DOIUrl":"https://doi.org/10.1080/17540763.2022.2060291","url":null,"abstract":"Aida Chehrehgosha’s award-winning photography series To Mom, Dad and My Two Brothers (2008) in which the artist controversially stages the death of her abusive mother and father is examined in this essay as exemplifying a form of screen memories — a conscious psychodynamic strategy, introduced by Sigmund Freud, employed here to both expose and heal traumatic experiences. Challenging the dominant views in trauma theory and psychoanalysis regarding the role of visuality vis-à-vis narrativization, I claim that in Chehrehgosha’s series the visual works both to indicate the trauma as well as to point to its overdetermined, complex nature. Moreover, the photographs are revealed to be palimpsestic and hybrid in their implicit photographic gaze, blurring the line between scientific and aesthetic uses of photography, legal and artistic discourses, fundamentally questioning the experience of being a victim and a criminal. As such, the artwork is understood as a unique and complex photographic way to represent and address painful experiences and mixed affects — a palimpsestic approach to screening trauma.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"167 - 186"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43024326","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

Penelope Umbrico and Flickr: from Niépce to the moon and back 佩内洛普·乌姆布里科和Flickr:从尼格斯到月球再回来

Photographies Pub Date : 2022-05-04 DOI: 10.1080/17540763.2022.2060290

N. Dietschy

{"title":"Penelope Umbrico and Flickr: from Niépce to the moon and back","authors":"N. Dietschy","doi":"10.1080/17540763.2022.2060290","DOIUrl":"https://doi.org/10.1080/17540763.2022.2060290","url":null,"abstract":"Penelope Umbrico’s series entitled Everyone’s Photos Any License (2015-) gathers photographs of the full moon that she selected from among the millions of similar images of the theme on the image-sharing website Flickr. In this paper, I study Umbrico’s gesture, drawing from the flow of online digital images to give shape to often monumental photographic installations, using photographs of the moon taken by others. Her project is inscribed in an image ecology that defends a recycling approach in the context of the overwhelming available images online. I argue that if Umbrico’s series takes part in contemporary practices, it also refers to the history of photography and its tight links with astronomy. Drawing on the history of the photographs of the moon in the nineteenth century to the abundance of digital photographs today, I attempt to show that Umbrico’s series both thematizes the technical challenges of photographing the moon and the ongoing fascination it evokes, in a time of space tourism projects. I argue that the artist’s act of borrowing people’s images of the moon mirrors our possessive relationship with images in the digital age and thus questions the notions of authorship and of uniqueness in today’s flow of images.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"265 - 287"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42705822","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

Social Distance: Intimacy, the Uncanny, and Extimacy in the Photographs of Diane Arbus 社交距离：戴安·阿布斯照片中的亲密、神秘和外在

Photographies Pub Date : 2022-05-04 DOI: 10.1080/17540763.2022.2060292

S. Hobson

引用次数: 0