Photography and Culture最新文献

{"title":"Mel Bochner’s Actual Size (Hand), 1968: Dissecting Technology’s Smooth Surface","authors":"Magdalena Nieslony","doi":"10.1080/17514517.2021.1877439","DOIUrl":"https://doi.org/10.1080/17514517.2021.1877439","url":null,"abstract":"Mel Bochner: Actual Size (Hand), 1968, Gelatin Silver Print, 22 x 14.25 Inches. Courtesy Mel Bochner.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"155 - 158"},"PeriodicalIF":0.3,"publicationDate":"2021-02-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1877439","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45337987","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"School Photos in Liquid Time: Reframing Difference","authors":"Gabrielle Moser","doi":"10.1080/17514517.2021.1872198","DOIUrl":"https://doi.org/10.1080/17514517.2021.1872198","url":null,"abstract":"School photographs abound in the history of photography, but are rarely the object of study for photography theorists. Categorized alongside other banal and formally repetitive forms of portraiture...","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"457 - 462"},"PeriodicalIF":0.3,"publicationDate":"2021-02-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1872198","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43140327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Henri Cartier-Bresson’s ‘Man and Machine’: Rethinking the Cold War Traffic in Photographs, against the Grain","authors":"S. James","doi":"10.1080/17514517.2020.1848070","DOIUrl":"https://doi.org/10.1080/17514517.2020.1848070","url":null,"abstract":"Abstract In 1967 IBM (International Business Machines) commissioned Henri Cartier-Bresson to produce a portfolio of photographs depicting human relationships with technology around the world. These images, along with a selection from the photographer’s archive were realized in 1968 as the touring exhibition and photobook Man and Machine. In contrast to the images of war, revolution and protest, so often mobilized as the documentary imaginary and record of these years, Man and Machine appears to celebrate a harmonious technologically mediated world over which man was still in control. More than this, it seemingly flattens the stark divides between First and Third World experiences under the leveling glow of liberal humanism and what was being naturalized as its equivalent: global Capital. Approaching Man and Machine retrospectively – from the perspective of the New Left’s 1970s critique of documentary humanist photography – as well as in terms of its own contemporaneousness, resituating it in the contemporary image cultures of the Cold War – I propose that documentary photography’s ideological mobility at this juncture might be understood not only as an inherent weakness or limit – as the means of its compromise and ultimate failure – but also as a resource: a potential arsenal of unpredictable, disjunctive and even radical political affects and effects.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"135 - 154"},"PeriodicalIF":0.3,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2020.1848070","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44428298","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Postcards from the End of the World","authors":"J. Zylinska","doi":"10.1080/17514517.2020.1857978","DOIUrl":"https://doi.org/10.1080/17514517.2020.1857978","url":null,"abstract":"Postcards from the End of the World arises out of my work as a theorist-practitioner with a longstanding interest in “the end of the world”. This interest has been fuelled by the multiple crises of...","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"191 - 200"},"PeriodicalIF":0.3,"publicationDate":"2021-01-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2020.1857978","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43986686","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Selecting Views of Las Trampas: Contact Sheets by Fred E. Mang Jr. and David Jones at the New Mexico State Records Center and Archives","authors":"Deanna Ledezma","doi":"10.1080/17514517.2021.1877437","DOIUrl":"https://doi.org/10.1080/17514517.2021.1877437","url":null,"abstract":"The northern New Mexican village of Las Trampas (Spanish for “The Traps”) was established with a communal land grant in 1751 by twelve ethnically and racially mixed families of Gen ızaro, Tlaxcalan, African, and Spanish descent from El Barrio de Analco, a lower-class district located on the south side of the Santa Fe River (McDonald 2002, 36). Bestowed by the provincial governor, the original land grant included 46,000 acres for the development of agriculture and livestock. The place name of Santo Tom as del R ıo de las Trampas is presumed to reference beaver traps along the river; however, writer William DeBuys infers a grim irony in the etymology of the isolated settlement founded as a redoubt (Julyan 1998, 294). These early residents “must have been keenly aware that their future home might eventually be a trap for them,” speculates DeBuys (1981, 72). Although the United States Congress upheld the validity of the Las Trampas Land Grant in 1860, the Anglo-American legal system set another series of traps that dispossessed villagers of their communal property in the early 1900s. After the Las Trampas Lumber Company declared bankruptcy in 1926, the United States Forest Service took ownership of the Las Trampas Land Grant (Guthrie 2013, 183). Held in the David Jones Collection at the New Mexico State Records Center and Archives, folders of contact sheets (c. 1966–67) made by Jones (1914–88) and his National Park Service colleague Fred E. Mang Jr. (1924–) depict Las Trampas, its residents, and their built environment. Mang, a staff photographer who specialized in scientific and","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"101 - 113"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1877437","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43193275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Polymorph","authors":"Jessie. Thomas","doi":"10.1080/17514517.2020.1726043","DOIUrl":"https://doi.org/10.1080/17514517.2020.1726043","url":null,"abstract":"A creature tattered and alone wanders through urban and desolate spaces on earth and above, in search of respite. The Polymorph is a story of belonging, a story that follows a lonely alien, unidentifiable no face to be seen. What does it mean to belong in today’s world? As Franz Kafka described of the character Odorak in Cares of a Family Man, ‘the whole thing looks senseless enough, but in its own way perfectly finished’ (Kafka, 2002, p.77). I am perplexed by the production of narratives, by the definitions of what it means to be useful, what it means to belong, to be human enough to be considered in today’s world? The story of The Polymorph focuses on an imagined creature that replicates the icons and characters regurgitated in an age-old narrative, repeating itself over and over; as if on a carousel with a formula seemingly forever identical searching for home a place to be ‘me’ with ‘you’. Where has the constructed creature come from? The creature is an amalgamation of broken bits of iconography, imagery, mythology, media and so on, found within societies culture, that suggests to us what our sense of power, belonging and identity should look like. The shape that the creature takes is a poorly constructed spaceman. The creature has been created in the image of human betterment, but come closer, you shall see, it is a fragile, tangible, otherly creature composed of earthly materials. Over layered and stuck together, the creature is trapped and alone in this alien body. This isolated creature, The Symbol, finds anOther along his journey The Sibling. The Symbol wanders through landscapes, isolated in the urban, alienated in the barren. Until it sees a figure; It was tall and stood upright like him, as he came closer, he saw the familiar smooth shape of body. The figure turned around and there, in the stranger’s face, The Symbol saw himself. Knowable, visible, graspable, it was the Other, the Sibling. Integral to this work is the notion of the Other, a concept derived from Edward Said’s the Orient. ‘Its origin in a quotation, or a fragment of text ... or some bit of previous imagining’ (Said, 2003, p.177). The Other is not a human, it is part of a simulacra to control individuals and to dehumanise and disempower an individual or group of people. As well as commenting on this aspect of dominant narratives, the Other within The Polymorph, evolves to explore wider philosophical tropes of existing and ideas of self fractured and mirrored, searching for a space to belong to come home to.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"115 - 123"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2020.1726043","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46231381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bridge Street, Chester","authors":"Graham Goldwater","doi":"10.1080/17514517.2021.1875654","DOIUrl":"https://doi.org/10.1080/17514517.2021.1875654","url":null,"abstract":"","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"97 - 99"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1875654","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45922786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Photographic Gaze Meets the Medical Gaze: Two Cross-Dressing Men in Christer Strömholm’s Place Blanche","authors":"Philip Charrier","doi":"10.1080/17514517.2020.1788694","DOIUrl":"https://doi.org/10.1080/17514517.2020.1788694","url":null,"abstract":"Abstract In 1963, Christer Strömholm photographed the cross-dressing men Zizou and Carla on successive days in a Paris bar. The images are unique in Strömholm’s Place Blanche archive in that in one photograph Zizou is the “man” and Carla the “woman,” and in the other they switch. Who were Zizou and Carla? Strömholm’s captions for the images do not say. But two years after he photographed them the men were interviewed by a medical school Ph.D. student for a thesis on trans and gender non-conforming prostitutes in Paris. Denise Fidanza’s completed thesis contains detailed summaries of the men’s elicited self-stories. What can be learned about Zizou and Carla by comparing the photographic and verbal evidence? To what extent do the sources align? My analysis reveals that the information conveyed by Strömholm’s photographs and Fidanza’s interviews exists on largely parallel tracks. Indeed, given that the men are identified only by aliases, without the corroborating visual evidence of a distinctive tattoo on Carla’s left arm and a small photograph of Zizou in Fidanza’s thesis, a conclusive match would be impossible. Considered together, Strömholm’s photographs and Fidanza’s interviews provide rich insights into the lives of two marginalized queer men in 1960s Paris.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"51 - 70"},"PeriodicalIF":0.3,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2020.1788694","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46474226","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Indexical Realism during Socialism: Documenting and Remembering the ‘Everyday Realities’ of Late Socialist Romania through Photographs","authors":"Maria-Alina Asavei","doi":"10.1080/17514517.2020.1824723","DOIUrl":"https://doi.org/10.1080/17514517.2020.1824723","url":null,"abstract":"Abstract This paper focuses on photography of everyday life in late socialist Romania, analyzing the photographic production of artists and vernacular photographs from private scrapbooks and collections. On a theoretical level, it disentangles questions concerning the production of ideological images; the political dimension of the act of photographing/documenting everyday life; the relationship between photography and cultural memory; the question of the forbidden gaze and the ‘reality’ of the visual document. The argument is that realism can be seen as a proclivity of certain kinds of photographs rather than inextricably associated with the medium of photography as such (the so-called ‘indexical realism’). Supported by an in-depth analysis of visual sources and semi-structured interviews with visual artists active during those years, this paper highlights the relationship between photography and cultural hegemony and zooms in on the photograph’s mnemonic abilities.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"5 - 21"},"PeriodicalIF":0.3,"publicationDate":"2020-10-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2020.1824723","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44408615","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Odd Man in: The Methodist Reverend and the Photo Archive","authors":"D. Aubert","doi":"10.1080/17514517.2020.1815968","DOIUrl":"https://doi.org/10.1080/17514517.2020.1815968","url":null,"abstract":"Abstract This article examines a small sample of photographs within the context of a large-scale visual archive–the Methodist Church’s 257 mission albums. Buried inside one of the “South American” series, three photographs and a small map tell the story of Reverend Willis C. Hoover, who was forced to step down as pastor of the Valparaiso congregation (Chile) in 1910. Yet the annotations surrounding the pictures indicate that they should no longer be there. The continued presence of these photographs in the archive raises questions about the value attached to photography for institutional history on the part of the Church itself, but also for historians trying to make sense of archival collections. To what extent can discrepancies within archives be considered meaningful of the way specific collections were put together? Should they rather be treated as mere contingencies in the “serendipitous” process of assembling such large collections, to use Elizabeth Edwards’ term? This article argues that although these pictures may seem out of place in the visual repertoire of the Church’s publicity material, their lasting presence reveals deep-seated concerns about missions and history within the Church.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"23 - 38"},"PeriodicalIF":0.3,"publicationDate":"2020-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2020.1815968","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47748893","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}