Photographies最新文献_第6页

Between social documentary and a global aesthetic: the use of landscape by early-career South African photographers 在社会纪录片和全球美学之间：南非早期摄影师对风景的使用

Photographies Pub Date : 2022-05-04 DOI: 10.1080/17540763.2022.2060289

Meghan L. E. Kirkwood

{"title":"Between social documentary and a global aesthetic: the use of landscape by early-career South African photographers","authors":"Meghan L. E. Kirkwood","doi":"10.1080/17540763.2022.2060289","DOIUrl":"https://doi.org/10.1080/17540763.2022.2060289","url":null,"abstract":"This article examines work from three South African artists—Vincent Bezuidenhout, Renzske Scholtz, and Jabulani Dhlamini—and argues that they use landscape images to find alignment or clarity between themselves, the social and political history of their country, and its land. Caught between a generation of activists who immersed themselves in views of a contested landscape, and another generation who did not experience life under apartheid, these photographers must balance what they see in the landscape in a contemporary context and its history into their representations. In “Separate Amenities,” Bezuidenhout examines how segregated recreational areas inscribed racist views into the South African coastline. In her series “The Farm,” Scholtz uses triptychs to combine archival imagery, contemporary photographs, and personal artifacts from a family property that was bought by the apartheid state and used as a prisoner camp. Jabulani Dhlamini revisits locations in the Sharpeville township connected to the 1960 Sharpeville Massacre. Finally, this article asserts that the landscape medium offers artists such as Bezuidenhout, Scholtz, and Dhlamini a space in which to mediate and engage the influence of the social documentary tradition in a post-apartheid art-making context—all while developing their identities as professional artists engaged in a global photographic dialog.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"289 - 307"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43497464","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

Raymond Moore’s uncertain places 雷蒙德·摩尔不确定的地方

Photographies Pub Date : 2022-05-04 DOI: 10.1080/17540763.2022.2060288

J. Scanlan

引用次数: 0

Anthropocentrism and solipsism in photographic self-portraits of Edvard Munch 爱德华·蒙奇摄影自画像中的人本主义与唯我主义

Photographies Pub Date : 2022-05-04 DOI: 10.1080/17540763.2022.2060287

A. Peraica

{"title":"Anthropocentrism and solipsism in photographic self-portraits of Edvard Munch","authors":"A. Peraica","doi":"10.1080/17540763.2022.2060287","DOIUrl":"https://doi.org/10.1080/17540763.2022.2060287","url":null,"abstract":"Although mental illnesses and personality disorders are largely destigmatized in the contemporary age, some genres, such as self-portraiture and consequently selfies, are still framed in interpretation by diagnostic labeling. One of the disorders that was often taken into reference when approaching self-picturing is narcissism. However, such an approach to the visual genre is limiting its interpretation. This article analyses two sets of self-portrait photographs of a Norwegian painter Edvard Munch, who spent some time in psychiatric asylums. This episode divides his work into two phases. In the first period, Munch self-records his various actions in space, while in the second one, he focuses on his face and a static half-a-figure. While the first one is actively reinterpreting the world through the self-image, the second one is centering the self as the world itself. Rather than defining which sets are more narcissistic, this article proposes distinguishing between performative/extravert and contemplative/introvert definitions of self-pictures by defining anthropocentric and solipsistic self-portraits. Distinguishing between anthropocentric and solipsistic self-portraiture may have impact not only on analysis of Munch’s photographic and painterly self-portraits but also on the interpretation of contemporary genre of selfies as well.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"187 - 203"},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42584003","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 Sense of a Land – Two photographic encounters with the Nordic North through Walter Benjamin’s notion of history in now-time 土地的感觉-通过瓦尔特·本雅明的当代历史概念与北欧北部的两次摄影相遇

Photographies Pub Date : 2022-01-02 DOI: 10.1080/17540763.2021.1986851

Erika Larsson

{"title":"The Sense of a Land – Two photographic encounters with the Nordic North through Walter Benjamin’s notion of history in now-time","authors":"Erika Larsson","doi":"10.1080/17540763.2021.1986851","DOIUrl":"https://doi.org/10.1080/17540763.2021.1986851","url":null,"abstract":"This article explores two works by Swedish artists Emanuel Cederqvist and Henrik Andersson that relate to the vast alpine areas of Norrland in the far north of Sweden. In both works, the artists relate their experiences of the area as it exists today as well as the layers of its history through both archival material and their own photographs. More specifically, both artists use material that show how the area was becoming an increaingly popular destination for researchers, explorers, and tourists in the beginning of the last century. Other archival material reveal aspects of military and colonial history as well as the history of the Sámi populations of the region. In the article, I explore these works and the multi-layered histories that they relate to with the help of Walter Benjamin’s version of historical materialism, in which history is approached through images in the present, rather than a narrative of events structured in chronological order. From this perspective, the history of the area is engaged with as physical and emotional, as well as cognitive, experiences, taking place in what Benjamin refers to as now-time, with associations that take off in many different directions.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"147 - 163"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47515041","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

When photographs refuse to speak: Heinkuhn Oh’s Gwangju Story 当照片拒绝说话：吴的光州故事

Photographies Pub Date : 2022-01-02 DOI: 10.1080/17540763.2021.1979633

Boyoung Chang

{"title":"When photographs refuse to speak: Heinkuhn Oh’s Gwangju Story","authors":"Boyoung Chang","doi":"10.1080/17540763.2021.1979633","DOIUrl":"https://doi.org/10.1080/17540763.2021.1979633","url":null,"abstract":"Gwangju Story (1995) incorporates the diverse dimensions of reality surrounding the filming of a movie recreating the 1980 Gwangju Uprising, a democratic struggle against a martial law government that took place in Gwangju, Korea. For the reenactment, Gwangju citizens intermingled with actors and played the roles of protesters and soldiers. They were joined by civic groups demanding the truth about the event and policemen overseeing the filming. Hence, the past and the present intertwined, fact and fiction overlapped, and memories and personal experiences were incorporated into existing history. In contrast to this heightened complexity, Heinkuhn Oh’s photographs are muted documentary images, disguising their constructed nature by conveying uncertainty and lacking violence or drama. This paper associates this ambiguity with Korea’s transition to democracy in the 1990s, wherein the uprising began to be reevaluated as a heroic struggle for democracy. With this newly obtained liberty, the photographer embodied the unstable status of the event in Korean history and offered a critical response to the historicization currently in progress. The use of the medium in the series also marks a break with the past. Destabilizing the conventions of documentary-style photography, Gwangju Story demonstrates the expanded use of the medium in contemporary Korean photography.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"79 - 100"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42674211","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 Trans Body in Christer Strömholm’s Vännerna Från Place Blanche (1983) 克里斯特·斯特罗姆的《布兰奇之友》中的跨性别身体（1983）

Photographies Pub Date : 2022-01-02 DOI: 10.1080/17540763.2021.1986852

Philip Charrier, Shantel LaBar

{"title":"The Trans Body in Christer Strömholm’s Vännerna Från Place Blanche (1983)","authors":"Philip Charrier, Shantel LaBar","doi":"10.1080/17540763.2021.1986852","DOIUrl":"https://doi.org/10.1080/17540763.2021.1986852","url":null,"abstract":"This article explores Christer Strömholm’s depictions of trans women in his 1983 photobook Vännerna Från Place Blanche (Friends of Place Blanche). Specifically, it queries the inclusion of portraits that unmask his subjects’ projected trans identities in a work about friendship and solidarity with gender non-conformity. The first part of the article considers the photographer’s use of French Nouvelle Vague film stills as templates for his sixties’ era Place Blanche portraits. The photographs, provided to his subjects as gifts, depict them as movie heroines. Unlike comparable imagery produced by Parisian trans cabarets, the film still portraits do not undermine or qualify the women’s gender presentations. The second part of the article considers Strömholm’s artistic use of portraits where the women subtly or blatantly fail to “pass”. We argue that because the photographer represented himself artistically as an adventurous explorer of liminal peoples and places, and a collector of abject things, his project required that he “out” some of his subjects; otherwise, it would simply come across as unoriginal copying of cinematic still styles. The unmaskings were achieved variously, with a few full-frontal naked shots being the most direct and uncompromising.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"33 - 56"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47162255","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

“Real space is experience space”: David Antin’s philosophy of photography “真实的空间就是体验的空间”:大卫·安廷的摄影哲学

Photographies Pub Date : 2022-01-02 DOI: 10.1080/17540763.2021.1986854

Ariel Evans

引用次数: 0

Editorial 社论

Photographies Pub Date : 2022-01-02 DOI: 10.1080/17540763.2021.2018167

Philip Charrier, Shantel LaBar, H. Pereira, Allan Sekula, M. Rosler

{"title":"Editorial","authors":"Philip Charrier, Shantel LaBar, H. Pereira, Allan Sekula, M. Rosler","doi":"10.1080/17540763.2021.2018167","DOIUrl":"https://doi.org/10.1080/17540763.2021.2018167","url":null,"abstract":"The papers in this issue suggest a renewed interest in what used to be a dichotomy between the ‘politics of representation’ or the ‘representation of politics’. The debate seems no longer a dichotomy, the old distinction about either paying attention to the matter of the images themselves or the political subject represented are combined in new interrogative interests. Cherine Fahd tackles the image of the mother across different fields of media articulation in ‘The Mother Thing in Pictures: from Antagonism to Affection’. Philip Charrier Shantel LaBar considers the image of the trans body in the early 1980s photobook by Christer Strömhom. The 1980s figure again in Louise Bethlehem and Norma Musih’s essay on Afrapix collective photography of late-Apartheid South Africa. Boyoung Chang’s essay addresses absences and presences in Chinese photography of the 1990s. Hugo Silveira Pereira takes up the longer narrative of ‘progress’ in engineering and social infrastructure that photographers in Portugal were employed to supply. Ariel Evans considers the influential 1970s theoretical framing by the poet David Antin and impact photography and education in California and photography work informing later work by Alan Sekula, Martha Rosler and many others. Erica Larsson examines the representation of the Swedish Sarek alpine areas and the role of the photographic image in its public presentation. All of these papers, submitted independently to the journal, are informed by different traditions, locations and modes of argument, yet at the same time show a renewed interest in critical writings that engage with actual practices and their effects on the constitution and ‘social construction’ of the world. Perhaps one of the inadvertent effects of Covid-19 ‘lockdown’ is an increased attention to the question of the social image and its value? Later this year we shall be hosting our Third International Photographies conference, this time in Texas USA. See https://www.tandfonline.com/action/ newsAndOffers?journalCode=rpho20.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"1 - 1"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47597893","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 mother thing in pictures: from antagonism to affection 图片中的母亲：从对立到亲情

Photographies Pub Date : 2022-01-02 DOI: 10.1080/17540763.2021.1986855

Cherine Fahd

{"title":"The mother thing in pictures: from antagonism to affection","authors":"Cherine Fahd","doi":"10.1080/17540763.2021.1986855","DOIUrl":"https://doi.org/10.1080/17540763.2021.1986855","url":null,"abstract":"The maternal embrace is an iconic pose for women posing with children. Characteristic of mother and child depictions in Christianity, even contemporary images appear as loaded patriarchal symbols. This essay examines the taxonomy of the mother across a range of photographic images from 1920 to the present. Looking for representational alternatives to the passive, silent mother images that dominate photography and visual culture, I want to show the mother to be more diverse than widespread representations will have us believe. I find autobiographies and photographic self-portraits by ambivalent mothers, lesbian mothers, black mothers, and childless mothers. These offer new possibilities and critical voices often absent from feminist discourses that usually deride or celebrate motherhood in overly simplistic terms. In turn, I have sought to complicate representations of the mother and the maternal embrace by analysing my embodied experience of being her. As a photographer-mother, I have floundered between antagonism and affection toward pictures of women with children. In response, I transport the mother from one world of appearances to another: from the symbolic realm of passivity, stillness, softness and silence to the affective and embodied realm of touching seen in the close-up zoomed-in details of mother and child imagery.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"3 - 32"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44830792","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

Herald of progress: Karl Emil Biel’s photographs of the technical modernisation of Portugal 进步的先驱者:卡尔·埃米尔·贝尔拍摄的葡萄牙技术现代化的照片

Photographies Pub Date : 2022-01-02 DOI: 10.1080/17540763.2021.1979087

H. Pereira

{"title":"Herald of progress: Karl Emil Biel’s photographs of the technical modernisation of Portugal","authors":"H. Pereira","doi":"10.1080/17540763.2021.1979087","DOIUrl":"https://doi.org/10.1080/17540763.2021.1979087","url":null,"abstract":"Starting in 1850, Portugal embarked on a technical-scientific agenda (historically known as Fontism, after its main advocate, Fontes Pereira de Melo) that pursued the modernisation of the country or, in its broader sense, progress, until the turn of the twentieth century. These efforts were captured through the lens of a German photographer living in Portugal, Karl Emil Biel. For the purposes of this paper, I have analysed around 200 of Biel’s works in which he recorded progress in Portugal. I argue that Biel felt inspired by the sublime inherent to technology to create a technological landscape and a narrative of progress in Portugal, marked by a variety of icons of modernity, similar to those found in cities of Europe’s most advanced countries, especially structures that promoted mobility and contributed to the territorial appropriation of the peripheral provinces. Furthermore, I contend that the publication of his photographs in the illustrated press contributed to the dissemination of this technological landscape and this narrative of progress nationwide and to the promotion of a nationalism fuelled by technology. Finally, I speculate how the current uses of Biel’s photographs at public events still share similar notions of progress, based on technological modernity and sublime.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"15 1","pages":"101 - 123"},"PeriodicalIF":0.0,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60302381","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: 2