Photography and Culture最新文献

{"title":"[Dream] Images of Earth in Quarantine – Some Photographs in Times of Crisis without Humans","authors":"Marie-Luise Kesting","doi":"10.1080/17514517.2021.1889127","DOIUrl":"https://doi.org/10.1080/17514517.2021.1889127","url":null,"abstract":"Abstract This essay considers human and nonhuman well-being, looking through a culturally-engaged visual analysis of three different groups of photographic images depicting planet earth seemingly in quarantine that were shared widely on social media during the lockdown imposed in many countries due to the Corona pandemic and that seemed to be in a (subconscious) dialogue with each other. They consist of 1. empty city spaces, 2. the proclaimed return of ‘wildlife’ (e.g., the fake images of dolphins in Venetian canals), and 3. satellite images of improved air and water quality. Drawing on Walter Benjamin’s Short History of Photography and Eugène Atget’s works in comparison to current photographs, it examines why certain images proliferate and what type of narratives, for example, of ‘healing’ the environmental crisis, they may propose.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1889127","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44134783","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":"Animal Bodies, Oil, and the Apocalyptic in the First Gulf War Aftermath","authors":"E. Payet","doi":"10.1080/17514517.2021.1889121","DOIUrl":"https://doi.org/10.1080/17514517.2021.1889121","url":null,"abstract":"Abstract The First Gulf War (1990–1991) is typically remembered as a virtual, video-game war, in which close to no pictures of human bodies were seen. In its aftermath, images of the devastating Kuwaiti oil fields’ fires were frequently described as visions of apocalypse, conjuring a posthuman world. Some Gulf War photographs depicting oil damage, among which those taken by Steve McCurry, Bruno Barbey and Sebastião Salgado, feature animals from soiled sea birds to horses and camels irretrievably lost in the polluted desert. This article, by focusing notably on three photographs by Salgado as published in his 2016 book Kuwait: a Desert on Fire, proposes a close observation of those easily overlooked pictures, to question the hegemonic understanding of the Gulf War as a “war without bodies” (Sekula). On the contrary, using notably the philosophy of Jacques Derrida, I will argue that the animals’ bodies, and specifically their liminal character akin to ghosts and zombies, convey the damage wreaked by this war, not in terms of battle casualties, but rather of its wider environmental damage. The belated publication of Salgado’s Kuwait: a Desert on Fire and the relationship of that timing with the evolution of the visual representation of climate change will thus be examined.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1889121","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60115673","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":"In a World Fit for Humans? Posthumanism and the Nature-Culture Continuum in the Prix Pictet","authors":"J. Peck","doi":"10.1080/17514517.2021.1890919","DOIUrl":"https://doi.org/10.1080/17514517.2021.1890919","url":null,"abstract":"Abstract The Prix Pictet is a photography prize focussing on sustainability. Anthropocentric in its world-view, the prize was endorsed and supported by Kofi Annan, who until 2006 was the Secretary-General of the United Nations. This article argues three points. Firstly, that the Prix Pictet’s model of sustainability is anthropocentric and produces a framework in which myriad inequalities in human relationships become representable. The prize as a symptom of the contradictions created through neoliberalism will be analysed, particularly as the prize celebrates the commodification of art whilst also enabling the articulation of concern about people and environment. This produces the second argument, where the prize is seen as symptomatic of a neoliberal economy that both offers opportunities for artists to express concern about social, economic and environmental inequalities, whilst also ‘greenwashing’ sustainable investments. Thirdly, I will argue that, photography’s ambiguity occasionally escapes the anthropocentric framework, leading to other possible interpretations. The Prix Pictet, then, mainly represents a human-centric view, and this is reproduced at the expense of nature-human-technology frameworks. However, close readings of some of the shortlisted projects see eco-centric and posthuman sensibilities emerging.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1890919","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48099611","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":"Fashion, Plastic and Myths in Color","authors":"Alexis Romano","doi":"10.1080/17514517.2021.1884327","DOIUrl":"https://doi.org/10.1080/17514517.2021.1884327","url":null,"abstract":"Abstract This short article examines a photograph in a 1956 catalogue for the French department store Galeries Lafayette in the context of the country’s postwar modernization, Paris renovations and the development of the readymade garment industry. It relates the production of image to the construction and dissemination of fashion and femininity in the print media. In particular, it notes how the use of changing technologies in image production, notably Kodachrome color film, shaped and exposed these constructions. Drawing on the notion of myth, as formulated by Roland Barthes, this article asks how the image spoke to modernity’s inherent contradictions, notably between old and new, in its depiction of bodies, plastic and synthetic fabric. Finally, it shows why this was particularly relevant in the culture of postwar France.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2021-02-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17514517.2021.1884327","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48319334","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":"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}