Pub Date : 2023-10-31DOI: 10.1080/03087298.2022.2249317
Kelly Midori McCormick
In 1968 two generations of Japanese photographers came together to research and curate the most comprehensive exhibition of the history of Japanese photography to date. Examining five hundred thousand photographs from public and private collections across the archipelago, they ultimately presented 1,640 images in a widely attended Tokyo exhibition. Moving beyond photographic nationalism, A Century of Japanese Photography was one of the only instances of public critique of the role of photographers who collaborated with the Japanese state during the Fifteen Year War (1931–45) and the exhibition’s popularity launched the movement to build the largest photography museum in Japan. Through analysis of the exhibition and establishment of the Tokyo Metropolitan Museum of Photography, I illuminate how the process of writing the first major history of Japanese photography and building an institution to house its archive was a practice informed by the changing meanings of the role of photographers and museums within Japanese society.
{"title":"Inventing a Photographic Past for Japan: From <i>A Century of Japanese Photography</i> (1968) to the Construction of the Tokyo Metropolitan Museum of Photography","authors":"Kelly Midori McCormick","doi":"10.1080/03087298.2022.2249317","DOIUrl":"https://doi.org/10.1080/03087298.2022.2249317","url":null,"abstract":"In 1968 two generations of Japanese photographers came together to research and curate the most comprehensive exhibition of the history of Japanese photography to date. Examining five hundred thousand photographs from public and private collections across the archipelago, they ultimately presented 1,640 images in a widely attended Tokyo exhibition. Moving beyond photographic nationalism, A Century of Japanese Photography was one of the only instances of public critique of the role of photographers who collaborated with the Japanese state during the Fifteen Year War (1931–45) and the exhibition’s popularity launched the movement to build the largest photography museum in Japan. Through analysis of the exhibition and establishment of the Tokyo Metropolitan Museum of Photography, I illuminate how the process of writing the first major history of Japanese photography and building an institution to house its archive was a practice informed by the changing meanings of the role of photographers and museums within Japanese society.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"68 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135863822","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 : 2023-10-12DOI: 10.1080/03087298.2023.2257459
Na’ama Klorman-Eraqi
AbstractIn 1971, men from Musrara, an impoverished Jerusalem neighbourhood, formed the Black Panthers in protest against institutionalised discrimination against Jews from Muslim countries (Mizrahim). This article examines Born in Israel, a photography project by Ya’akov Shofar that appeared as a photography book in 1984 and as an exhibition at the Israel Museum in Jerusalem in 2017, to unpack the differences between these two instances. Shofar’s 1984 project portrayed young Mizrahi Musrara men while being interviewed by a Jerusalem municipality social worker. This collaboration had political potential but only fragments of these interviews are reproduced in the book. Although the men participated in the Black Panthers’ protests, the book underscores their ethnicity and avoids mentioning this movement. My study explores the visual and discursive elements that depoliticised the book due to the Black Panthers’ perceived threat to the hegemonic social order and in relation to local developments in photography as fine art. I show that, unlike the book, the 2017 Israel museum exhibition promotes Born in Israel’s relation to the Black Panthers, but also had limitations and contradictions. Finally, I argue that accounting for the unabridged interviews uncovers hegemonic Israel’s patronising attitude towards the marginalised photographed men, and compensates for lacunas in this project’s presentations.Keywords: Ya’akov Shofar (1947–)Musrarasocial documentarysocially engaged photographyBlack Panthers of Israel (1971–73)Mizrahi protestMizrahi masculinityBorn in Israel (1978–842017) Notes1 – Henriette Dahan Kalev, ‘The Big Missed Opportunity of Israeli Democracy: The Traumatic Memory as Legacy of the Wadi Salib Protests’, Israel Democracy Institute Articles, 7 July 2009 (Hebrew), https://www.idi.org.il/articles/5474.2 – See Na’ama Klorman-Eraqi, ‘Acting Out for the Camera: Performing Mizrahi Masculinity and the Politicisation of the Jerusalem Neighbourhood, Katamon Tet’, Journal of Modern Jewish Studies (March 2023), 1–27. Katamon Tet, one of the nine sub-neighbourhoods of Katamon, is also known as The Katamonim – tet is the ninth letter of the Hebrew alphabet. Among the social workers who worked with Shofar were Zadok Lavan, Doron Nehari and David Meiri. Shofar, interview with the author, 17 June 2019, The Israel Museum, Jerusalem; and Noa Zdaka, Photographic Truth is Natural Truth – Chronicles of a Photography Department (Tel Aviv: Resling, 2018), 238 (Hebrew).3 – Ya’akov Shofar, ‘About the Photographs’, in Born in Israel (Tel Aviv: Hakibbutz Hameuchad, 1984) (Hebrew); and The Knesset Channel Broadcast Channel 99, ‘Aharon Barnea interviewing Ya’akov Shofar – Photographer and artist’, 7 June 2017 (Hebrew), https://www.youtube.com/watch?v=VP6g53L_fsk (accessed 14 February 2021).4 – Edith Varga-Biro, ‘The Other Sabras’, Jerusalem Post Magazine, 14 September 1984, N. Some of the photographs in Born in Israel were first published in Ya’akov Shofar, Finding a W
{"title":"The Black Panthers of Israel and Ya’akov Shofar’s Musrara Photographs: Taming and Politicisation (1978–83)","authors":"Na’ama Klorman-Eraqi","doi":"10.1080/03087298.2023.2257459","DOIUrl":"https://doi.org/10.1080/03087298.2023.2257459","url":null,"abstract":"AbstractIn 1971, men from Musrara, an impoverished Jerusalem neighbourhood, formed the Black Panthers in protest against institutionalised discrimination against Jews from Muslim countries (Mizrahim). This article examines Born in Israel, a photography project by Ya’akov Shofar that appeared as a photography book in 1984 and as an exhibition at the Israel Museum in Jerusalem in 2017, to unpack the differences between these two instances. Shofar’s 1984 project portrayed young Mizrahi Musrara men while being interviewed by a Jerusalem municipality social worker. This collaboration had political potential but only fragments of these interviews are reproduced in the book. Although the men participated in the Black Panthers’ protests, the book underscores their ethnicity and avoids mentioning this movement. My study explores the visual and discursive elements that depoliticised the book due to the Black Panthers’ perceived threat to the hegemonic social order and in relation to local developments in photography as fine art. I show that, unlike the book, the 2017 Israel museum exhibition promotes Born in Israel’s relation to the Black Panthers, but also had limitations and contradictions. Finally, I argue that accounting for the unabridged interviews uncovers hegemonic Israel’s patronising attitude towards the marginalised photographed men, and compensates for lacunas in this project’s presentations.Keywords: Ya’akov Shofar (1947–)Musrarasocial documentarysocially engaged photographyBlack Panthers of Israel (1971–73)Mizrahi protestMizrahi masculinityBorn in Israel (1978–842017) Notes1 – Henriette Dahan Kalev, ‘The Big Missed Opportunity of Israeli Democracy: The Traumatic Memory as Legacy of the Wadi Salib Protests’, Israel Democracy Institute Articles, 7 July 2009 (Hebrew), https://www.idi.org.il/articles/5474.2 – See Na’ama Klorman-Eraqi, ‘Acting Out for the Camera: Performing Mizrahi Masculinity and the Politicisation of the Jerusalem Neighbourhood, Katamon Tet’, Journal of Modern Jewish Studies (March 2023), 1–27. Katamon Tet, one of the nine sub-neighbourhoods of Katamon, is also known as The Katamonim – tet is the ninth letter of the Hebrew alphabet. Among the social workers who worked with Shofar were Zadok Lavan, Doron Nehari and David Meiri. Shofar, interview with the author, 17 June 2019, The Israel Museum, Jerusalem; and Noa Zdaka, Photographic Truth is Natural Truth – Chronicles of a Photography Department (Tel Aviv: Resling, 2018), 238 (Hebrew).3 – Ya’akov Shofar, ‘About the Photographs’, in Born in Israel (Tel Aviv: Hakibbutz Hameuchad, 1984) (Hebrew); and The Knesset Channel Broadcast Channel 99, ‘Aharon Barnea interviewing Ya’akov Shofar – Photographer and artist’, 7 June 2017 (Hebrew), https://www.youtube.com/watch?v=VP6g53L_fsk (accessed 14 February 2021).4 – Edith Varga-Biro, ‘The Other Sabras’, Jerusalem Post Magazine, 14 September 1984, N. Some of the photographs in Born in Israel were first published in Ya’akov Shofar, Finding a W","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135968270","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 : 2023-10-02DOI: 10.1080/03087298.2023.2256591
Brian Stokoe
{"title":"Another Country: British Documentary Photography since 1945Another Country: British Documentary Photography since 1945Gerry Badger, with contributions by Lydia Caston, Ekow Eshun, Clare Grafik, J. A. Mortram, Val Williams and others. Thames and Hudson/Martin Parr Foundation, London, 2022. 312 pages, with 250 colour and black & white illustrations. Hardcover £50.00, ISBN 978-0-500-02217-7.","authors":"Brian Stokoe","doi":"10.1080/03087298.2023.2256591","DOIUrl":"https://doi.org/10.1080/03087298.2023.2256591","url":null,"abstract":"","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"122 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135895824","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 : 2023-10-02DOI: 10.1080/03087298.2023.2256592
Laurie Taylor
{"title":"Negative/Positive: A History of Photography <b>Negative/Positive: A History of Photography</b> Geoffrey Batchen. Routledge, New York, 2020. 288 pages, with 94 colour illustrations. Softcover £36.99, ISBN 978-0-367-40583-0.","authors":"Laurie Taylor","doi":"10.1080/03087298.2023.2256592","DOIUrl":"https://doi.org/10.1080/03087298.2023.2256592","url":null,"abstract":"","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135895662","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 : 2023-09-28DOI: 10.1080/03087298.2023.2256584
Harrison Adams
{"title":"Capitalism and the Camera: Essays on Photography and ExtractionCapitalism and the Camera: Essays on Photography and ExtractionKevin Coleman and Daniel James. Verso, New York, 2021. 320 pages, with 52 colour and black & white illustrations. Softcover £19.99, ISBN 978-1-839-76080-8.","authors":"Harrison Adams","doi":"10.1080/03087298.2023.2256584","DOIUrl":"https://doi.org/10.1080/03087298.2023.2256584","url":null,"abstract":"","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135388462","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 : 2023-09-28DOI: 10.1080/03087298.2023.2256586
Alistair Cartwright
{"title":"Photography, Reconstruction and the Cultural History of the Postwar European City <b>Photography, Reconstruction and the Cultural History of the Postwar European City</b> Tom Allbeson. Routledge, Abingdon, 2021. 272 pages, with 70 black & white illustrations. Hardcover £120.00, eBook £33.29, ISBN 978-1-474-23496-2.","authors":"Alistair Cartwright","doi":"10.1080/03087298.2023.2256586","DOIUrl":"https://doi.org/10.1080/03087298.2023.2256586","url":null,"abstract":"","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135387897","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 : 2023-09-28DOI: 10.1080/03087298.2023.2256587
Alexandra Solovyev
{"title":"Making Modernity in the Islamic Mediterranean,Making Modernity in the Islamic Mediterranean, Edited by Margaret S. Graves and Alex Dika Seggerman. Indiana University Press, Bloomington, 2022. 282 pages, with 145 colour illustrations. Softcover £25.99, ISBN 978-0-253-06034-1.","authors":"Alexandra Solovyev","doi":"10.1080/03087298.2023.2256587","DOIUrl":"https://doi.org/10.1080/03087298.2023.2256587","url":null,"abstract":"","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135388440","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 : 2023-08-17DOI: 10.1080/03087298.2023.2234756
Patrizia Di Bello
Published in History of Photography (Vol. 46, No. 2-3, 2022)
发表于《摄影史》(第46卷第2-3期，2022年)
{"title":"Contributors","authors":"Patrizia Di Bello","doi":"10.1080/03087298.2023.2234756","DOIUrl":"https://doi.org/10.1080/03087298.2023.2234756","url":null,"abstract":"Published in History of Photography (Vol. 46, No. 2-3, 2022)","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"28 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138526661","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 : 2023-05-22DOI: 10.1080/03087298.2022.2205316
Published in History of Photography (Vol. 46, No. 1, 2022)
发表于《摄影史》(2022年第46卷第1期)
{"title":"Contributors","authors":"","doi":"10.1080/03087298.2022.2205316","DOIUrl":"https://doi.org/10.1080/03087298.2022.2205316","url":null,"abstract":"Published in History of Photography (Vol. 46, No. 1, 2022)","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"3 3","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138526660","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}
The National Center of Competence in Research (NCCR) TransCure, funded by the Swiss National Science Foundation and the University of Bern, was active from 2010 to 2022. It provided unique research and educational framework in the membrane transporter and ion channel field. Thanks to an interdisciplinary approach comprising physiology, structural biology, and chemistry, in parallel to a rich offer in complementary areas such as education and technology transfer, the network achieved outstanding scientific results and contributed to the education of young scientists. In this review, we present the main features and milestones of the NCCR TransCure.
{"title":"The NCCR TransCure: An Incubator for Interdisciplinary Research.","authors":"Valentina Rossetti, Hugues Abriel","doi":"10.2533/chimia.2022.992","DOIUrl":"10.2533/chimia.2022.992","url":null,"abstract":"<p><p>The National Center of Competence in Research (NCCR) TransCure, funded by the Swiss National Science Foundation and the University of Bern, was active from 2010 to 2022. It provided unique research and educational framework in the membrane transporter and ion channel field. Thanks to an interdisciplinary approach comprising physiology, structural biology, and chemistry, in parallel to a rich offer in complementary areas such as education and technology transfer, the network achieved outstanding scientific results and contributed to the education of young scientists. In this review, we present the main features and milestones of the NCCR TransCure.</p>","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"29 1","pages":"992-995"},"PeriodicalIF":1.2,"publicationDate":"2022-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81612782","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}
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