Photographies最新文献

{"title":"Editorial","authors":"Julie Moreton","doi":"10.1080/17540763.2021.1873461","DOIUrl":"https://doi.org/10.1080/17540763.2021.1873461","url":null,"abstract":"This journal, now in its 14 year of publication, continues to seek to construct new agendas for theorising photography as a heterogeneous medium that is changing in an ever more dynamic relation to all aspects of contemporary culture and aims to do so through investigating the contemporary condition and currency of the photographic within local and global contexts. It was in this spirit that we held the first photographies conference (London, 2017) on ‘Critical Issues in Photography today’, with papers subsequently published as a special issue (Vol. 11: 2/3, 2018). At that event, we were asked whether the conference might become a regular occurrence and, if so, whether we might consider basing the next one in Asia. As is clear from this collection of papers from our subsequent (second) conference on ‘Photography in Asia’, the response was a resounding yes. Dr Oh Soonhwa, Associate Professor of Photography at Nanyang Technological University, Singapore, who is a member of the journal’s advisory board and was participating in the London event, generously offered to co-host an event, thereby opening possibilities for discussing photography from a different place, both literally and metaphorically. As co-editors of the journal, we have been keen to ‘de-centre’ the focus to include work and thinking that is beyond the usual Anglo-American emphasis; hence, we have sought to advance, a more truly global dimension. The aim is not to simply substitute one cultural paradigm of thought for another, to engage in what some might describe as a kind of a ‘theoretical’ or ‘critical tourism’, but to consider the cultural interactions – and distinctions – within the globalised production and circulation of photographic imagery across all arenas, and between what the global and local: north and south, as well as east and west. We know now, of course, that globalization (and one of its valuable tools, the globalization of photography) has produced many great inequalities and this is probably true of photography criticism and theory too. The title of the conference, Photography in Asia, was somewhat open, intended to invite the question: what is it, where is it, how, when and why? As can be seen from the conference programme, included towards the end of this issue, responses were wide-ranging. Proposals were organised into themed sessions, thereby articulating dialogues between papers in each panel. We hoped that the condensing together of varying conceptual approaches might contribute to the emergences of new agendas that in turn provoke us to re-examine our own centres of attention. All contributors were invited to submit a revised version of their paper for inclusion in this special issue based on the conference; most speakers chose to do so. The schedule included six thematic panels: Ecology-Images; Archival Memories; Pictorial-Material; No Printed Matter; Form-Circulation; History-Significance. See the programme reproduced at the end of this issue. Within this, ","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"1 - 2"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2021.1873461","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44495977","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}

{"title":"Constructing the photographic archive of Rochor Centre in tabula rasa Singapore","authors":"Shujuan Lim","doi":"10.1080/17540763.2021.1872684","DOIUrl":"https://doi.org/10.1080/17540763.2021.1872684","url":null,"abstract":"What photographs remain once buildings are demolished, and their inhabitants displaced? This paper proposes to construct the photographic archive of a demolished site in Singapore: Rochor Centre. It focuses on the photographs made available on platforms such as publications, exhibitions and Instagram. In indexing and examining the aesthetics and subject matters of these photographs, this paper reflects on the future construction of photographic archives of buildings and urban sites that are in peril of obliteration.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"57 - 72"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2021.1872684","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46310556","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}

{"title":"Breathing in the megacity: photographic atmospheres, polluted airs","authors":"John van Aitken, J. Brake","doi":"10.1080/17540763.2020.1847179","DOIUrl":"https://doi.org/10.1080/17540763.2020.1847179","url":null,"abstract":"Written from an artists’ perspective this article considers photography’s engagement with the polluted meteorological atmosphere and its constitutive role in the production of megacity imaginaries. On visits to Shanghai between 2017 and 2019 we made elevated views of the megacity, generated field notes, poetics, breathed the air and became unwell. We draw on the work of Gernot Böhme and Peter Sloterdijk amongst others to initiate a new and pressing discussion: what happens when we think of photography and breathing together?","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"15 - 27"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1847179","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44537782","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}

{"title":"Reconfiguring materiality in contemporary Japanese photography after 3.11","authors":"Marco P. Bohr","doi":"10.1080/17540763.2020.1848910","DOIUrl":"https://doi.org/10.1080/17540763.2020.1848910","url":null,"abstract":"In this essay, I analyse landscape photography produced in the aftermath of the tsunami and earthquake that hit Japan in March 2011. The aim of the essay is to unpack the profound impact the disaster has hct 3ad, and is having, and how this can be observed in the type of photographic practices that since emerged in Japan. As I will argue, one of the greatest transformations can be seen in the way artists and photographers subvert the material integrity of the image itself.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"73 - 83"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1848910","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42989656","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}

{"title":"Pingyao international photography festival (2001-2020)","authors":"Xiaoxiao Liu","doi":"10.1080/17540763.2020.1847175","DOIUrl":"https://doi.org/10.1080/17540763.2020.1847175","url":null,"abstract":"Founded in 2001, Pingyao International Photography Festival (PIPF) has established a platform for photographic shows and academic exchanges. It has been making efforts to promote photography as media of expression, communication, and a form of art. This article seeks to portrait the festival through featured exhibitions and activities, including the group return of the Chinese conceptual photography, the introduction of photographic curatorial notions, the balance between professional and amateur photography, as well as the exchanges among photographic students and educators through exhibitions and forums. It also attempts to propose the main challenges PIPF confronts through the difficulties they encountered in the 2020 version, which happened without the personal presence of the international community because of the Covid-19 epidemic.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"165 - 180"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1847175","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44412518","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}

{"title":"The writing, transformation, and rewriting of photo archives in Chinese photography from the 1940s to date","authors":"Yining He","doi":"10.1080/17540763.2020.1847173","DOIUrl":"https://doi.org/10.1080/17540763.2020.1847173","url":null,"abstract":"In recent years, photographers around the globe have begun to break the conventional linear sequence in the construction of photographic texts, opting for a new wave that allows multiple narrative strategies of the real or the fictional. They fuse documents, historical photos, texts, and carefully-constructed images, taking viewers to times and places in the past, to boundaries that can or cannot be told. This kind of practice not only reflects the artists’ interest and urgent desire to delve into history but also reveals the space that has been opened for photographic practices by the richness of social and cultural environments in history. In China, the research on archival art and its phenomena have appeared continuously in recent years, but it is mostly written based the theories of western scholars, such as T. R. Schellenberg, Jacques Derrida, Michael Shanks and others, and lacks discussion on archives in the political, social and cultural context of modern and contemporary China. Based on my ongoing research on the historical narrative of contemporary Chinese photography, this paper will focus on the relationship between archives and photographic art in a broader context, examining the following three interrelated archival issues: the production, dissemination, and storage of public photo archives in the 1940s; the development of the resource structure of photo archives in the recent past; and the different methods of transforming photo archives into works of art in contemporary Chinese photography.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"133 - 151"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1847173","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60302373","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}

{"title":"Capturing Shadows of the Wars: Memories of Camp Town Women in South Korea and Japan","authors":"Nayun Jang","doi":"10.1080/17540763.2020.1848909","DOIUrl":"https://doi.org/10.1080/17540763.2020.1848909","url":null,"abstract":"This essay examines lens-based artworks in South Korea and Japan, focusing on the ways in which artists challenge official memory by drawing attention to the lives of women in U.S. military camp towns. Both countries witnessed growing presence and activities of U.S. military in the aftermath of the Asia-Pacific War and the Korean War, but the overwhelming impact of Americanisation in ordinary people’s lives has been neglected in the formation of nationalistic official memories. Highlighting the lens-based artists’ role as creators of “counter-memory”, which represents “individual’s resistance against the official versions of historical continuity”, the essay analyses their artistic attempts to make sense of and overcome the troubled past by means of memory.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"119 - 131"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1848909","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44816896","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}

{"title":"The memory struggle: archives of postmemory in contemporary Korean photography","authors":"Phil Lee","doi":"10.1080/17540763.2020.1848911","DOIUrl":"https://doi.org/10.1080/17540763.2020.1848911","url":null,"abstract":"This essay elucidates works of ‘the generation after’ Korean artists whose photographs reveal crevices of the modern and contemporary history of Korea. Using the medium of photography, Kwon Soon Kwan, Oh Suk Kuhn, An Jung Ju, Im Jong Jin, and Lim Anna look back and take issues with memories of then Korean War and the Gwangju Democratization Movement of May 18. I examine how their postmemory works visualize ghostly presences, dramas of anxiety, bodies as sites for trauma, and consumed and celebrated memories. I analyze ways in which they explore cultural, historical, and political transformations in collective memories based on Marian Hirsch’s theory of postmemory. Their works further pose questions on official records of the past traumatic events that were modified, edited, distorted, and even deleted for political purposes. I claim that, by giving the individual victims permanent presences, their photographic impulse is to recover what is no longer visible in society and history. Photographs in their work are places of lasting return that bring about ghosts that have disappeared in the archive. I argue that focused on the tension between national and individual memories, the artists’ imaginative horizon and creative appropriation recover specific local histories of the political violence embedded in oblivion.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"153 - 164"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1848911","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48221263","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}

{"title":"The photography auction market in mainland china","authors":"Wenhao Yu","doi":"10.1080/17540763.2020.1847178","DOIUrl":"https://doi.org/10.1080/17540763.2020.1847178","url":null,"abstract":"The photography auction market in China has experienced the early stage from the 1990s to 2005, the development stage from 2006 to 2018, and the current stages from 2019 to the present. In the domestic auction market at the early stage, the auction of photography was not rare, but the special session of photography auction had not yet been formed. Photographs were auctioned in the session of Ancient Books, Stamps, Chinese Painting and Calligraphy, as well as Oil Paintings. In 2006, Chinese contemporary art rose rapidly: Sotheby’s held a special auction of contemporary Asian art on March 31 during the Asia Week New York in the spring of this year, the first large-scale Asian art special session in North America. In September of the same year, the photography work of Wang Qingsong, titled “Follow Me,” was sold at Sotheby’s in New York for 310,000 US dollars, which offers further drive to China’s photography market. Against the backdrop of the development of the markets both home and abroad, Beijing Huachen Auctions hosted the first photography session in China in November 2006, with a total of 365 lots auctioned for a total turnover of 350,857 US dollars. At this point, the photography auction market in China was officially established and entered the era of special session auctions. While Chinese contemporary photography works enjoy huge popularity in overseas markets, the domestic photography auction session shows its uniqueness from the beginning. According to the statistics of the highest-priced auction lots in the first three photography auction sessions of Huachen Auctions, the domestic secondary photography market favors historical old photos and documentary photographs more.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"181 - 192"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1847178","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48952859","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}

{"title":"Exploring and reconstructing cultural memory through landscape photography: a case study of seaweed house in China","authors":"Yajing Liu","doi":"10.1080/17540763.2020.1855232","DOIUrl":"https://doi.org/10.1080/17540763.2020.1855232","url":null,"abstract":"The sociocultural climate in the first decade of twenty-first-century China has produced booming discussions on memory in photography. Many Chinese photographers have examined issues of individual and collective memory while others have conducted autobiographical explorations and reflected on historical sites. However, when considering the problems raised in contemporary society, such as the crisis of identity and the disappearance of traditional culture, memory would be better understood within the overarching context of cultural memory, which I challenge in this paper. This paper explores how cultural memory generated by changes in the landscape can be reconstructed through the lens of contemporary photography. Based on the case study of my Seaweed House project, I call for Jan Assmann’s memory studies agenda to uncover in detail the considerations involved in the reconstruction of a landscape community’s cultural memory.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":"14 1","pages":"43 - 56"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1855232","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47914971","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}