Pub Date : 2021-01-02DOI: 10.1080/03087298.2021.2020477
L. Somers
until now to understand Changing New York. Miller succeeds in collating and organising the available material evidence and intelligently relating it to ideas and historical context, but the responsibility for overpromising on the delivery of a lost work may not lay solely on her shoulders. In an ironic repetition of history, perhaps the publisher is once more pushing an agenda on Changing New York.
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Pub Date : 2021-01-02DOI: 10.1080/03087298.2021.2006929
Jonathan Dentler
This article examines the association between Wirephotos – the brand name that became a generic term for news photographs sent by telegraph, telephone or radio, also sometimes described as radiophotos – and objectivity. It suggests that many wirephotos functioned by making visible not places or events, but the drama of communication, understood as the challenging process of articulating messages across space and time. The article also considers Edward Steichen’s use of Associated Press photographer Max Desfor’s wirephotos in the exhibition Korea – The Impact of War, at the Museum of Modern Art in New York in 1951. It thinks through Steichen’s use of the metaphor of ‘bridging’ to describe the work of press photography and asks what it can tell us about photographic circulation and communication, particularly in mid-twentieth-century USA. By playing on the repertoire of meanings associated with bridges, Desfor’s Flight of Refugees Across Wrecked Bridge in Korea can be read as reflecting on its own medium’s limitations. As it circulated and recirculated in different formats, Desfor’s bridge photograph dramatised communication’s difficulty, and the always-present potential of failure in press photography’s effort to bridge distance.
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Pub Date : 2021-01-02DOI: 10.1080/03087298.2021.2020476
G. Batchen
Over the past few decades, a new genre of photography book has established itself, a genre dedicated to the history of photographic exhibitions. These books have included volumes about great exhibitions – The Family of Man continues to generate its own halo of publications – and the curatorial record of certain museums who like to think of themselves as great, such as the Museum of Modern Art in New York. Installation View offers a different perspective: a historical survey of photography exhibitions of all kinds within the boundaries of a particular, rather modest, nation-state – Australia. Compiled by two eminent local scholars, the book began as a research project dedicated to constructing a comprehensive timeline of Australian photography exhibitions, now available in online form (see www.photocurating.net). This timeline remains the backbone of their book, although its chronological imperative has been mediated by the imposition of thirty-six chapters, each with a short essay dedicated to a particular theme or type of exhibition, and sometimes ranging backwards and forwards in time. By this means, the book seeks to trace ‘the constantly mutating forms and conventions through which photographers and curators have selected and presented photographs to the public’. This chapter structure has a number of benefits. It allows the book to extend from the earliest exhibitions of photographs in Australia, held in the 1840s, through to the nearpresent, but also to pause and consider some key moments, such as the arrival of a touring version of The Family of Man in 1959 or the establishment of the Australian Centre for Photography in Sydney in 1974. A familiar global story, in which displays of work in commercial studios are given a more formal setting by professional photographic associations, until galleries and museums begin to provide an art historical mode of presentation in the twentieth century, is thereby inflected with regional specificity, and even with significant differences. Most striking is the way that Installation View locates its exhibition history within a colonial context. The display of daguerreotypes of exotic natives in Adelaide and Sydney in 1846 and 1848 is, for example, given a counterpoint in a chapter devoted to exhibitions of work produced by indigenous photographers in the 1980s. Another distinctive element is a series of chapters dedicated to ‘intercolonial’ exhibitions, the first situated in Melbourne in 1866, offering their audiences ‘a triumphalist representation of the colonial project’. As one writer congratulated his readers in the Australian Monthly Magazine in January 1867, ‘they [the photographs he saw] mark the growth of art in this our antipodean world, and exhibit the high standards of taste to which we, as inhabitants of new colonies, have arrived’. A later chapter titled ‘Exhibiting the Modern World (1937–54)’ examines another version of this national self-promotion in its discussion of the modernist photogra
在过去的几十年里，一种新的摄影书籍类型已经形成，这是一种致力于摄影展览历史的类型。这些书包括关于伟大展览的书籍——《人类家族》继续产生自己的出版物光环——以及一些喜欢自认为伟大的博物馆的策展记录，比如纽约的现代艺术博物馆。《装置观》提供了一个不同的视角:在一个特定的、相当温和的民族国家——澳大利亚的边界内，对各种摄影展进行历史调查。这本书由两位杰出的当地学者编写，最初是一个研究项目，致力于构建一个全面的澳大利亚摄影展时间表，现在可以在网上找到(见www.photocurating.net)。这个时间线仍然是他们的书的主干，尽管它的时间顺序已经被36章的强制规定所调解，每个章节都有一篇短文，专门针对一个特定的主题或展览类型，有时在时间上向后或向前。通过这种方式，这本书试图追踪“摄影师和策展人选择并向公众展示照片的不断变化的形式和惯例”。这种章节结构有很多好处。它允许本书从19世纪40年代在澳大利亚举办的最早的摄影展延伸到近现代，但也可以暂停并考虑一些关键时刻，例如1959年《人类家族》的巡回版本的到来或1974年在悉尼成立的澳大利亚摄影中心。在一个熟悉的全球故事中，商业工作室的作品展示由专业摄影协会提供更正式的环境，直到画廊和博物馆开始提供20世纪的艺术历史呈现模式，因此受到区域特殊性的影响，甚至存在显著差异。最引人注目的是装置视图将其展览历史置于殖民背景下的方式。例如，1846年和1848年在阿德莱德和悉尼展出的外来土著人的达盖尔银版照片，在专门介绍20世纪80年代土著摄影师作品展览的一章中有一个对应的部分。另一个独特的元素是一系列致力于“殖民间”展览的章节，第一次展览于1866年在墨尔本举行，为观众提供了“殖民项目的必胜主义代表”。1867年1月，一位作家在《澳大利亚月刊》上祝贺他的读者，“他们(他看到的照片)标志着我们这个遥远的世界的艺术发展，展示了我们作为新殖民地居民所达到的高标准品味。”后面一章题为“展示现代世界(1937-54)”，在讨论1939年纽约世界博览会上澳大利亚馆的现代主义摄影模块时，探讨了这种国家自我宣传的另一个版本。正如展览的设计师道格拉斯·阿南德所说，这是一个“展示民族性格、国家性质、生活和工业的展览，是一个令人兴奋和信息丰富的奇观”。那么，这本书已经采取了一种自由主义的观点，即什么构成了副标题所承诺的“在澳大利亚”。作为大英帝国的前哨，后来成为澳大利亚的罪犯定居点一直是一个具有渗透性的实体，摄影师和照片都经常在其边界之间来回移动。马丁·乔利(Martyn Jolly)和合著者Elisa DeCourcy已经在2020年出版的《帝国、早期摄影和奇观》(Empire, Early Photography and Spectacle)一书中透露了英国出生的达盖尔照相术师j·w·纽兰(J. W. Newland)非凡的跨国故事。纽兰在美国新奥尔良开设了第一家工作室，随后在中美洲、南美洲、南海、澳大利亚和印度拍摄，然后于1857年在加尔各答被杀。1848年，纽兰在悉尼展出了200张达盖尔银版照片，这是“澳大利亚第一次单独的摄影展”。这种说法强调了定义“第一次”甚至“展览”的困难，更不用说“摄影”了——纽兰还展示了投影魔术灯表演。例如，在安装视图中没有提到的是阿德莱德的画家和插画家塞缪尔·托马斯·吉尔(Samuel Thomas Gill)早期的照片展示，他从伦敦的理查德·比尔德(Richard Beard)那里进口了银版照相设备，以及比尔德工作室的作品标本。吉尔然后
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Pub Date : 2020-12-03DOI: 10.1080/03087298.2020.1846894
Felicity Tsering Chödron Hamer
This collection is far more beautiful than expected, an immersive and affecting emotional experience that accompanied the developing reality of COVID-19 and its disjointed unfolding of time. Most of all, Odette England’s book is an affirmation of photography’s relationship to memory – to the feeling of memory, to the kind of time travel photography affords and to the malleability of moments upon revisitation. England’s project began with a call for responses to Roland Barthes’s discussed but not shown ‘Winter Garden’ photograph, introduced to the world in his 1980 book Camera Lucida: Reflections on Photography. Prompting contributions from over two hundred artists and writers, England did so much more than compile a collection. ‘I’m growing a garden’, she proclaimed to her astounded postal worker. When Barthes describes gazing upon the ‘Winter Garden’ photograph, he speaks as one who has been chosen and drawn into a relationship with an object. But he had been seeking a photograph that contained his mother’s ‘essence’ and he found it – depicted here as a young girl. Did he choose this photograph as a site worthy of his focused remembrance activity or did it ‘choose’ him? Is he mistaken in what he sees in it? Does this unillustrated photograph even exist at all? In the pages of Camera Lucida, he breathes life into his mother’s photographic portrait (life he would sooner breathe back into her if only that were in his gift) because that is what he is able to do in his capacity as a skilled writer and philosopher. And he succeeds. Although held from view, this photograph – and thereby his mother – continue to fuel imaginations. Celebrating forty years since the publication of this seminal piece, England’s book is named for the little girl in the photograph – Henriette, feminine for Henry, meaning ‘keeper of the hearth’. Keeper of the Hearth sparks with intimate, mostly unnamed photographs – unobscured by the credits that appear only at the very end in alphabetical and not numerical order. Sparsely interspersed with personal anecdotes and insightful pieces of critical writing, staggered sheets of paper of varied opacity and weight add to the sensation that the reader is moving through a scrapbook – performing memory work. Each page is a special moment or memory shared – a gift. The generosity Barthes showed in putting his grief into words – and not simply showing the object of his grief – is echoed by these responses. Keeper of the Hearth is a testament to the generative power of vulnerability. The photographic submissions feel intensely personal, their meaning only occasionally enhanced by written testimony. Charlotte Cotton suggests that these contributions serve to ‘collectively stand in for Barthes’ withheld photograph’, many showing signs of wear as though overloved or handled. Subjects and landscapes are often obscured – not everything is given. Occasionally, only a caption or darkroom notations remain, or the photograph turns its back to the vi
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Pub Date : 2020-10-01DOI: 10.1080/03087298.2020.1968131
Mark Turin
have contributed important essays to this collection, enriching our knowledge of the inherently transnational nature of the lanternist’s work and of the medium itself. The studies that Jolly and deCourcy have solicited each stress the ‘media specificity’ of the magic lantern performance, drawing out the unique perceptual and social experiences these events offered for the contemporary reader’s attention. At the same time, they trace the evolution of individual performances as they were repeated and adapted to fit their audiences’ changing needs. Such emphases encourage us to consider the practices of the magic lantern lecture as preconditions of our own contemporary screen engagements, which – we should be mindful – are also collaborative engagements between a viewer, a producer and a subject. Whether it is in styling the ‘background’ of a home office ahead of an online meeting, sorting a ‘slide show’ ahead of a PowerPoint presentation or tweaking the parameters of a curated stream of information – or simply in discussing a screen experience we have shared – this collection reveals that we draw, continually, on the remarkable competencies that lanternists and their audiences developed in their magic lantern lectures. The Magic Lantern at Work provides a significant contribution to an emerging and interdisciplinary field of scholarship. It casts welcome light on an influential yet often overlooked medium and on the ‘sometimes forgotten people who gathered [around it]’. This collection will be of immense value to scholars of culture and media, postcolonial and imperial studies, and screen and photographic history; as it will be for those who care for or seek to present magic lantern material held in public collections.
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Pub Date : 2020-10-01DOI: 10.1080/03087298.2021.1963569
V. Flores
European stereoscopic photography owes a significant part of its cultural specificity to amateur photographers who resorted to the wet collodion process to document nature with reduced exposure times and to perfect their photographic art with crisper and more detailed images. The Portuguese Carlos Relvas (1838–94) was one of these renowned collodion practitioners. Until recently, most of his stereoscopic collections remained undigitised and unstudied, and the contribution of stereoscopy to the launch of his international career was little known. The building of an online catalogue raisonné dedicated to Relvas’s stereoscopic photography has been an opportunity to undertake a combined study of his stereoscopic negatives and prints, making it possible to retrieve new information about the extent, importance and evolution of his stereoscopic work. While designed to make these collections digitally available, the catalogue offers a new perspective on the specific value of stereoscopic negatives and cross-referenced ‘image families’ for a new understanding of photographic practice. By re-examining the opportunities offered by digital collections, this article sheds light on their potential to remodel the memory and historic value of a nineteenth-century photographer and, in particular, to properly showcase stereoscopic photography.
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Pub Date : 2020-10-01DOI: 10.1080/03087298.2021.1955464
J. Schwartz
Diaspora, migration and globalisation are subjects that now drive much scholarly study, and the place of Scots and Scottishness has been well secured within this field. Equally, books on the inventive contributions and creative energies of Scots around the world are many, yet surprisingly absent from these discussions is serious consideration of photography. Two recent additions to the Scottish photo-historical bookshelf address this historiographical gap, but in very different ways: Sara Stevenson and A. D. Morrison-Low’s Scottish Photography: The First Thirty Years is a comprehensive research survey; Anthony Lee’s The Global Flows of Early Scottish Photography: Encounters in Scotland, Canada, and China offers a set of three interpretive case studies. While markedly different, they cover the same time period and some of the same content. These books are reviewed here together as examples on a spectrum of research and writing in a subfield of the history of photography that has a rich past and literature of its own.
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Pub Date : 2020-10-01DOI: 10.1080/03087298.2020.1968188
Ann Garascia
photographic diaspora, and on photography, travel and imperialism more generally, it is a stretch to see Lee’s book as either a ‘much-needed history of the emergence of Scottish pastoralism’ or ‘the first book to take up in a sustained way the relationship between the camera and globalization’, as the promotional rhetoric of the dustjacket testimonial claims. Certainly, the absence of a bibliography makes it difficult to situate the pursuit of ‘Scottishness’ within – or against – wider and more recent disciplinary frames beyond works cited.
{"title":"Photography, Natural History and the Nineteenth-Century Museum: Exchanging Views of Empire","authors":"Ann Garascia","doi":"10.1080/03087298.2020.1968188","DOIUrl":"https://doi.org/10.1080/03087298.2020.1968188","url":null,"abstract":"photographic diaspora, and on photography, travel and imperialism more generally, it is a stretch to see Lee’s book as either a ‘much-needed history of the emergence of Scottish pastoralism’ or ‘the first book to take up in a sustained way the relationship between the camera and globalization’, as the promotional rhetoric of the dustjacket testimonial claims. Certainly, the absence of a bibliography makes it difficult to situate the pursuit of ‘Scottishness’ within – or against – wider and more recent disciplinary frames beyond works cited.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"44 1","pages":"313 - 318"},"PeriodicalIF":0.2,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46906443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-10-01DOI: 10.1080/03087298.2021.1958500
Abigail Lapin Dardashti
This article examines Afro-Brazilian photographer Januário Garcia’s images of the favela Morro do Salgueiro in Rio de Janeiro, shot from late 1983 to early 1984. I argue that through his depictions of traditional family units, architectural details and children in front of Rio’s cityscapes, Garcia made activist photography that showcased the favela as a humane and family-oriented place, in opposition to the government and white elite’s historical denigration of such neighbourhoods – hilltop shantytowns with predominantly Black residents, often located next to wealthy neighbourhoods. Garcia positioned the favela’s Afro-Brazilian residents as active contributors to the city’s modern built environment, challenging previous associations of the Black figure with folkloric and rural spaces. In addition, his images openly display the favela’s poverty – an indelible mark of Brazil’s persistent racism – as a way to combat discrimination and assert Black consciousness in a country that sought to erase the presence of African heritage especially in centralised southeastern cities.
这篇文章考察了非裔巴西摄影师Januário Garcia拍摄于1983年末至1984年初的里约热内卢Morro do Salgueiro贫民窟的照片。我认为，通过对里约城市景观前传统家庭单元、建筑细节和儿童的描绘，加西亚拍摄了积极的摄影作品，展示了贫民窟是一个人道和面向家庭的地方，反对政府和白人精英对这些社区的历史诋毁——以黑人为主的山顶棚户区，通常位于富裕街区旁边。加西亚将贫民窟的非裔巴西居民定位为城市现代建筑环境的积极贡献者，挑战了之前黑人人物与民俗和乡村空间的联系。此外，他的照片公开展示了贫民窟的贫困——这是巴西持续存在的种族主义的不可磨灭的标志——作为一种打击歧视和维护黑人意识的方式，这个国家试图抹去非洲遗产的存在，尤其是在东南部的中心城市。
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