One of the important cultural responses to political and sociohistorical events in Latin America is a resurgence of urban photography, which typically blends high art and social documentary. But ...unlike other forms of cultural production in Latin America, photography has received relatively little sustained critical analysis. This pioneering book offers one of the first in-depth investigations of the complex and extensive history of gendered perspectives in Latin American photography through studies of works from Argentina, Mexico, and Guatemala.David William Foster examines the work of photographers ranging from the internationally acclaimed artists Graciela Iturbide, Pedro Meyer, and Marcos López to significant photographers whose work is largely unknown to English-speaking audiences. He grounds his essays in four interlocking areas of research: the experience of human life in urban environments, the feminist matrix and gendered cultural production, Jewish cultural production, and the ideological principles of cultural works and the connections between the works and the sociopolitical and historical contexts in which they were created. Foster reveals how gender-marked photography has contributed to the discourse surrounding the project of redemocratization in Argentina and Guatemala, as well as how it has illuminated human rights abuses in both countries. He also traces photography's contributions to the evolution away from the masculinist-dominated post–1910 Revolution ideology in Mexico. This research convincingly demonstrates that Latin American photography merits the high level of respect that is routinely accorded to more canonical forms of cultural production.
When Andy Grundberg landed in New York in the early 1970s as a
budding writer, photography was at the margins of the contemporary
art world. By 1991, when he left his post as critic for the New
York ...Times , photography was at the vital center of artistic
debate. Grundberg writes eloquently and authoritatively about
photography's "boom years," chronicling the medium's increasing
role within the most important art movements of the time, from
Earth Art and Conceptual Art to performance and video. He also
traces photography's embrace by museums and galleries, as well as
its politicization in the culture wars of the 80s and 90s.
Grundberg reflects on the landmark exhibitions that defined the
moment and his encounters with the work of leading
photographers-many of whom he knew personally-including Gordon
Matta-Clark, Cindy Sherman, and Robert Mapplethorpe. He navigates
crucial themes such as photography's relationship to theory as well
as feminism and artists of color. Part memoir and part history,
this perspective by one of the period's leading critics ultimately
tells a larger story about the crucial decades of the 70s and 80s
through the medium of photography.
First study on empty places in photography and the Covid-19 pandemic. In the aftermath of Covid-19, the subject of ‘empty places’ has gained renewed topicality and resonance. Watching, Waiting ...presents a collection of essays that brings emptiness into interdisciplinary focus as an object of study that extends beyond the present. The contributors approach the specific interrelationships of photography and place through emptiness by considering historical and contemporary material in equal measure. Drawing on architecture, anthropology, sociology, and public health, among other fields, they provide insights into geographically and temporally diverse production models of empty places and their corresponding complex and sensitive global and local relations, while also tackling the ethics of behaviour and protests that unfold within them. The book's chapters, both photographic and scholarly essays, cover areas that range widely both thematically and geographically, spanning static film footage of Nicosia's Buffer Zone, protest photographs in the wake of the Black Lives Matter movement in Bristol, staged images from the University of Zagreb's ethnological archives, historic landscape and architectural photography, aerial shots of Covid-19 mass graves in Brazil, photos of artificially built field hospitals and quarantine rooms during the pandemic, and images of empty airports at night. Through still and moving images, Watching, Waiting examines the photographic aestheticisation of emptiness, existing stereotypes of ‘empty places’, and transformations of human experiences. Ebook available in Open Access. This publication is GPRC-labeled (Guaranteed Peer-Reviewed Content).
Contributors: Ruth Baumeister (Aarhus School of Architecture), Isabelle Catucci da Silva (Federal University of Paraná), Stella Fatović-Ferenčić (Croatian Academy of Sciences and Arts), Martin Kuhar (Croatian Academy of Sciences and Arts), Catlin Langford (Centre for Contemporary Photography), Jessie Martin (University of West London), Stuart Moore (University of the West of England), Luca Nostri (Independent Artist Photographer), Kayla Parker (University of Plymouth), Bec Rengel (University of the West of England), Tihana Rubić (University of Zagreb), Klaudija Sabo (University of Klagenfurt), Anna Schober (University of Klagenfurt), Elke Katharina Wittich (Leibniz University Hannover)
The Violence of the Image Kennedy, Liam; Patrick, Caitlin
2014, 2014-07-23, 2020-09-13, Letnik:
15
eBook
Photography has visualized international relations and conflicts from the midnineteenth century onwards and continues to be an important medium in framing the worlds of distant, suffering others. ...Although photojournalism has been challenged in recent decades, claims that it is dead are premature. The Violence of the Image examines the roles of image producers and the functions of photographic imagery in the documentation of wars, violent conflicts and human rights issues; tackling controversial ideas such as witnessing, the making of appeals based on displays of human suffering and the much-cited concept of compassion fatigue.
In Projecting Citizenship , Gabrielle Moser gives a comprehensive account of an unusual project produced by the British government’s Colonial Office Visual Instruction Committee at the ...beginning of the twentieth century—a series of lantern slide lectures that combined geography education and photography to teach schoolchildren around the world what it meant to look and to feel like an imperial citizen.
Through detailed archival research and close readings, Moser elucidates the impact of this vast collection of photographs documenting the land and peoples of the British Empire, circulated between 1902 and 1945 in classrooms from Canada to Hong Kong, from the West Indies to Australia. Moser argues that these photographs played a central role in the invention and representation of imperial citizenship. She shows how citizenship became a photographable and teachable subject by tracing the intended readings of the images that the committee hoped to impart to viewers and analyzing how spectators may have used their encounters with these photographs for protest and resistance. Moser shows how the Visual Instruction Committee pictured citizenship within an everyday context and decenters the preoccupation with trauma, violence, atrocity, and conflict that characterizes much of the theoretical literature on visual citizenship and demonstrates that the relationship between photography and citizenship emerged not in the dismantling of modern colonialism but in its consolidation.
Interweaving political and economic history, history of pedagogy, and theories of citizenship with a consideration of the aesthetic and affective dimensions of viewing the lectures, Projecting Citizenship offers important insights into the social inequalities and visual language of colonial rule.
This special double issue on Borders and Boundaries draws on papers presented at the third international photographies journal conference held at UTSA, the University of Texas San Antonio, School of ...Art, Texas, USA, in September 2022.
Most view the relationship of Jews to the Soviet Union through the lens of repression and silence. Focusing on an elite group of two dozen Soviet-Jewish photographers, including Arkady Shaykhet, ...Alexander Grinberg, Mark Markov-Grinberg, Evgenii Khaldei, Dmitrii Baltermants, and Max Alpert,Through Soviet Jewish Eyespresents a different picture. These artists participated in a social project they believed in and with which they were emotionally and intellectually invested-they were charged by the Stalinist state to tell the visual story of the unprecedented horror we now call the Holocaust.These wartime photographers were the first liberators to bear witness with cameras to Nazi atrocities, three years before Americans arrived at Buchenwald and Dachau. In this passionate work, David Shneer tells their stories and highlights their work through their very own images-he has amassed never-before-published photographs from families, collectors, and private archives.Through Soviet Jewish Eyeshelps us understand why so many Jews flocked to Soviet photography; what their lives and work looked like during the rise of Stalinism, during and then after the war; and why Jews were the ones charged with documenting the Soviet experiment and then its near destruction at the hands of the Nazis.
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