Photography and Culture最新文献_第5页

Photography and Environmental Activism: Visualising the Struggle Against Industrial Pollution 摄影与环保行动:与工业污染作斗争的视觉化

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2023-01-02 DOI: 10.1080/17514517.2023.2228082

Siobhan Angus

{"title":"Photography and Environmental Activism: Visualising the Struggle Against Industrial Pollution","authors":"Siobhan Angus","doi":"10.1080/17514517.2023.2228082","DOIUrl":"https://doi.org/10.1080/17514517.2023.2228082","url":null,"abstract":"The hydraulic mining pioneered by The North Bloomfield Mining & Gravel Co at Malakoff Diggins, California was environmentally devastating. So much so that in 1878, farmers downstream mobilized. Organized under the The Anti-Debris Association, they sued The North Bloomfield Mining & Gravel Co. for damaging their farms and livelihood. To provide evidence of the debris and flooding, they hired John A. Todd to photograph the environmental impacts of hydraulic blasting. Todd’s photographs were submitted as evidence in the court case. The decision in Edward Woodruff vs. North Bloomfield [1884] determined that the mine should be shut down, resulting in the first environmental legal decision issued in the United States. In Photography and Environmental Activism: Visualising the Struggle Against Industrial Pollution, Conohar Scott argues that the deployment of Todd’s photographs in EdwardWoodruff vs. North Bloomfield reflects the emergence of environmentally activist photography. Scott does not suggest the photographs were pivotal to the decision—they augmented 200 witness testimonials and 200,000 documents. The value of the images as evidence, though, was rooted in the perceived indexical nature of photography. Formally, the images draw on pictorial framing devices, but critically, for Scott, the images were annotated with “ascriptions of blame” (41). Textual descriptions aligned with witness testimony and moved the photographs beyond mere illustration. Scott’s analysis of Todd’s little-known photographs nuances our understanding of photography’s role in the context of mining at Malakoff Diggins. Carleton Watkins documented the mining operation a decade before but rendered mining aesthetic through skillful framing, suitable for pictures commissioned by North Bloomfield to encourage capital investment. Photography thus “cut both ways”; still, Scott argues that Todd’s case study reveals that “an alternate history of the medium exists in","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43122302","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}

引用次数: 1

Indigenous Cultures and Post-Mortem Photography 土著文化与死后摄影

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2023-01-02 DOI: 10.1080/17514517.2023.2228586

B. Rangiwai, D. Enari

引用次数: 0

The Narrative across Photographs: The Silk Roads Photography Gallery 摄影的叙事：丝绸之路摄影画廊

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2023-01-02 DOI: 10.1080/17514517.2023.2233181

Xuan Zhang, Shaohan Wang

引用次数: 0

Lola Álvarez Bravo: Subverting Surrealist Photography in Mexico 洛拉Álvarez布拉沃:颠覆超现实主义摄影在墨西哥

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2023-01-02 DOI: 10.1080/17514517.2023.2181803

Lauren Walden

{"title":"Lola Álvarez Bravo: Subverting Surrealist Photography in Mexico","authors":"Lauren Walden","doi":"10.1080/17514517.2023.2181803","DOIUrl":"https://doi.org/10.1080/17514517.2023.2181803","url":null,"abstract":"Abstract Rather than merely draw inspiration from Surrealism, I argue that Mexican photographer Lola Álvarez Bravo actually subverts some of its founding tenets and iconography. Though archived letters documenting the turbulent relationship with her former husband Manuel Álvarez Bravo, I contend that empirical experience incited her to deconstruct the male anatomy similarly to the surrealist treatment of the female body, photographically subverting surrealist iconography from within. I consider how Lola’s staunchly Catholic religious beliefs impacted upon her feminist stance and how she navigated the female iconography of the Catholic faith in a Surrealist manner. Subsequently, I chart how Lola’s photography reversed stereotypical gender roles in a post-revolutionary society, repurposing the surrealist penchant for the mannequin in the service of feminism. Lola’s practice corresponds to a form of intersectional feminism, whereby her own battles concurrently engender sympathy for other marginalized communities such as the poor and the indigenous. Nevertheless, due to her reliance upon government commissions, her photographic repertoire does sometimes stray into propaganda despite her ardent denials thereof; Manuel clearly had more artistic freedom compared to Lola. Lola’s subversion of surrealism is underpinned by the dichotomy of the generalized and concrete other, elaborated by feminist-cosmopolitan philosopher Seyla Benhabib.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48860204","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}

引用次数: 0

Between Topographical Groundwork and Neocolonial Aspirations: The ‘Best Practice’ of Survey Photography in the Chilean-Argentine Boundary Case of 1902 在地形基础和新殖民主义愿望之间:1902年智利-阿根廷边界案例中调查摄影的“最佳实践”

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2022-10-02 DOI: 10.1080/17514517.2022.2126160

Matthias Johannes Pfaller Schmid

{"title":"Between Topographical Groundwork and Neocolonial Aspirations: The ‘Best Practice’ of Survey Photography in the Chilean-Argentine Boundary Case of 1902","authors":"Matthias Johannes Pfaller Schmid","doi":"10.1080/17514517.2022.2126160","DOIUrl":"https://doi.org/10.1080/17514517.2022.2126160","url":null,"abstract":"Abstract This article investigates photography as a tool of neocolonial territorial politics in the Cordillera of the Andes Boundary Case of 1902, in which Chile and Argentina re-negotiated their border in Patagonia. To avoid an impending war, they brought their case to the English King for arbitration. Scientists from all three sides compiled reports, maps and notably, photographs, providing proof for each country’s interpretation of the border. In a first step, I argue that the images of the hitherto uncharted land posed a challenge to the understanding of this land as national territory, having first to undergo a process of overcoming the uncertainty of empty space and acquiring scientific meaning during the arbitration. In a second step, I trace how the photographs and the case itself were resignified as expressions of neocolonial modernity and nation building. In this process, the previously limited capacity of photography was extended to support legal claims. The analysis of the development of the visual material in the trilateral negotiation distills the key factors that made the survey photography of this case successful in terms of contemporary imperial standards, or in other words, an example of ‘best practice’.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44121777","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}

引用次数: 0

A Different Lens: Pegg Clarke, E. G. Shaw and the History of Australian Women’s Photography 不同的镜头：佩格·克拉克、E.G.肖与澳大利亚女性摄影史

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2022-10-02 DOI: 10.1080/17514517.2022.2147706

Lorraine Sim

{"title":"A Different Lens: Pegg Clarke, E. G. Shaw and the History of Australian Women’s Photography","authors":"Lorraine Sim","doi":"10.1080/17514517.2022.2147706","DOIUrl":"https://doi.org/10.1080/17514517.2022.2147706","url":null,"abstract":"Abstract Many women were actively engaged in photography in Australia from the nineteenth century. However, women’s contributions to the field are under-represented in extant histories of Australian photography, particularly photography prior to the 1970s. This essay explores some of the reasons for that erasure and offers two acts of historical and textual recovery. Drawing on new archival research, I examine the lives and work of two little-known Australian women photographers of the early twentieth century: Pegg Clarke and Eleanor Georgina Shaw. Pegg Clarke (1890–1956) was a successful studio, portrait and art photographer who was active from the 1910s through to the 1950s. Eleanor Georgina Shaw (E. G. Shaw; 1870–1954) was an amateur street, urban and architectural photographer who was active in Sydney from the 1910s through to the 1930s. In navigating some of the epistemological and practical challenges of working with these archival collections, and at times engaging in what Saidiya Hartman calls ‘critical fabulation’, I weave together the fragmentary remains of these two women’s careers in an attempt to place them on the critical map. I also offer some speculations as to how their work might provide an opportunity to revise, if in modest ways, extant histories of Australian photography.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48367897","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}

引用次数: 0

Transhistoricizing the Drone: A Comparative Visual Social Semiotic Analysis of Pigeon and Domestic Drone Photography 超历史化的无人机:鸽子与国内无人机摄影的视觉社会符号学比较分析

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2022-09-14 DOI: 10.1080/17514517.2022.2116899

L. O’Hagan, Elisa Serafinelli

{"title":"Transhistoricizing the Drone: A Comparative Visual Social Semiotic Analysis of Pigeon and Domestic Drone Photography","authors":"L. O’Hagan, Elisa Serafinelli","doi":"10.1080/17514517.2022.2116899","DOIUrl":"https://doi.org/10.1080/17514517.2022.2116899","url":null,"abstract":"Abstract This article seeks to situate drone imagery within a more extensive lineage of practice by focusing on one particular form with which it is comparable: pigeon photography. Using a combination of visual social semiotic analysis, literature from Drone Studies, and archival research, it highlights four overarching characteristics shared between photographs taken by pigeons between 1908 and 1912 and contemporary drone visuals produced by hobbyists: verticality, geographical reimaginations, access to inaccessible places, and aerial self-portraits. In doing so, it aims to develop a better understanding of the social and material affordances/constraints of aerial photography, its meaning potentials and how they may have changed across space and time, and the social relations that are reflected in and shaped by its images. The article concludes by suggesting a nuanced perspective into the relationship between “new” and “old” media, arguing that images taken by drones and pigeons have similarities in their forms and functions, but their creation is guided by different ideological values and bounded by the potentials, norms, and traditions of the time. This perspective builds upon the recent turn in media studies toward transhistorical approaches to place seemingly novel contemporary communication technology within historical patterns of practice and use.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60115300","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}

引用次数: 6

Inuit, the Crown, and Racialized Visuality: Photographs from the 1956 Canadian Governor General’s Arctic Tour 因纽特人、王冠和种族化的视觉：1956年加拿大总督北极之旅的照片

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2022-08-24 DOI: 10.1080/17514517.2022.2096280

Carol Payne

引用次数: 0

Photographic Education in Uganda 乌干达的摄影教育

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2022-07-19 DOI: 10.1080/17514517.2022.2083372

Juma Kasadha, Rajab Idd Muyingo

引用次数: 0

The Hybrid Dialectics Interview between Warren S. Neidich and Erik Morse 沃伦·s·内迪希与埃里克·莫尔斯的混合辩证法访谈

IF 0.3 4区艺术学

Photography and Culture Pub Date : 2022-07-18 DOI: 10.1080/17514517.2022.2063600

Warren Neidich, Erik Morse

{"title":"The Hybrid Dialectics Interview between Warren S. Neidich and Erik Morse","authors":"Warren Neidich, Erik Morse","doi":"10.1080/17514517.2022.2063600","DOIUrl":"https://doi.org/10.1080/17514517.2022.2063600","url":null,"abstract":"Abstract This interview between the writer and critic Erik Morse and the artist and theorist Warren Neidich took place over the course of two months in the fall/winter 2021–2022. The interview focuses on a body of work entitled the Hybrid Dialectics produced between 1997–2002 that served as bridge between his earlier perfomative reenactments and fictitious documents entitled, American History Reinvented,1985–1993, and his more recent neon sculptures most notably the Pizzagate Neon, 2017–2021 and his A Proposition for an alt Parthenon Marbles Recoded: The Phantom as Other (2021–2022). Neidich's project extends his interdisciplinary experiments carried out in the fields of cinema studies, structural film and apparatus theory which foregrounded cinematic devices and tools at the expense of the image. This forms the foundation of Neidich’s engagement with photographic medium as a form of politicized aesthetics embedded in a bidirectional embodied and extended cognition. His hybrid dialectics take off where artists like Michael Snow and Tony Conrad left off. They are the result of grafted neuro-opthalmologic devices, used in the measurement of squint and skewed gaze, upon the photographic lens which results in a destabilized and estranged image; making them other and queered while at the same time challenging the stillness of the photographic object. The neuro-photographic assemblages release the vibrant energy of their human and non-human subjects distributing them across the surface of the photographic paper. These portray a lexicon of control that would later appear again, in his recent neon sculptures in the form of the Google effect, meme magic, and click bait. The Hybrid Dialects represented forms of dissensus against what Guy Debord called the Society of the Spectacle where as Neidich’s recent neon work is a rebuttal of the consciousness industry of social media and Big Data.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2022-07-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48337192","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}

引用次数: 0