Pub Date : 2022-07-03DOI: 10.1080/03087298.2023.2228121
Janet Poole
This article explores the early introduction of photographic images to the daily newspaper in Korea in the second decade of the twentieth century. The technology of mass printing photographic images was pioneered by the Government General’s Korean-language newspaper, Maeil sinbo, in the years immediately after Japan’s colonial occupation began. The encounter between the two technologies of photography and printing thus developed within the broader context of colonial governmentality and the simultaneous emergence of modern structures of the archive and the individual. Exploration of the first published snapshot series offers a case study of the entanglement of modern technologies in the social relations of early photographic images. Reading the snapshot series today reveals the contours of a politics and aesthetics of colonial visuality, which was to long outlive the only apparently trivial series.
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Pub Date : 2022-07-03DOI: 10.1080/03087298.2023.2186064
Brian Stokoe
Geoff Dyer’s interest in photography began not so much by looking at photographs or by making them, but by reading what other people had written about them. Susan Sontag, Roland Barthes and John Berger emerge as key influences on Dyer’s own critical responses to the medium. This collection brings together more than fifty such responses drawn from a decade of short reviews and longer essays in which Dyer engages in a series of close readings of photographs by August Sander, Alvin Langdon Coburn, Eug ene Atget, Dennis Hopper and Lee Friedlander, to name some of the more famous. Such writing may well have begun as a sideline but is now the author’s ‘main sideline’, and Dyer has himself become a thinker of influence, not least because of his earlier books The Ongoing Moment (2005) and The Street Philosophy of Garry Winogrand (2018). This volume will no doubt further enhance his reputation as a thoughtful, amusing and idiosyncratic observer of photography. Dyer claims to have no method: ‘I just look, and think about what I’m looking at’, a statement that manages to be simultaneously disingenuous and modest as the author’s methodology is in fact revealed in some detail as this anthology proceeds. See/Saw’s real introduction – what he calls an ‘after-intro’ – appears only in the latter stages when discussing the work of Roland Barthes and, particularly, John Berger, the subject of his first book, Ways of Telling (1986). Dyer holds Berger in high regard and the latter’s ‘interrogation of the visible’ is evident in much of his writing as he attempts to closely examine precisely what he is looking at, from the multiple perspectives of history, culture, technology and art. Barthes and Berger shared the same quest, he says, ‘to articulate the essence of photography’, but their importance for any ontology of the photographic image seems less important than their epistemological enquiries. With all the information, sometimes unintended, provided by photographs – what Barthes termed their ‘analogical plenitude’ – just what kind of knowledge might we confidently derive from them? Indeed, how can a machine designed specifically to record the surface appearance of the world contribute to our understanding of its deeper, underlying processes? Dyer cites Berger’s essay on Sander, ‘The Suit and the Photograph’ (1979), as exemplary. While most studies of Sander have understandably focused on his overall project, here was a thoroughgoing examination of only a few images, abstracted from their immense entirety: a historically informed sociology of the image. Berger’s method was to write about the obvious as if it was important, reckoning on the fact that it usually is, and both Berger and Dyer share a sense of being driven by an intense curiosity. As Dyer remarked in a recent interview, ‘The most important skill a writer can have is curiosity [... ] It’s always been a source of surprise to me that
杰夫·戴尔(Geoff Dyer)对摄影的兴趣并不是从看照片或制作照片开始的，而是从阅读别人对照片的评论开始的。苏珊·桑塔格、罗兰·巴特和约翰·伯杰对戴尔自己对媒介的批判反应产生了关键影响。这本作品集汇集了50多个这样的回应，这些回应来自十年来的简短评论和长篇文章，在这些文章中，戴尔仔细阅读了奥古斯特·桑德、阿尔文·兰登·科伯恩、尤金·阿特吉、丹尼斯·霍珀和李·弗里德兰德的照片，并列举了一些更著名的照片。这样的写作很可能是作为副业开始的，但现在是作者的“主要副业”，戴尔自己也成为了一位有影响力的思想家，尤其是因为他早期的作品《正在进行的时刻》(2005)和《加里·温诺格兰德的街头哲学》(2018)。这本书无疑将进一步提高他作为一个深思熟虑，有趣和独特的摄影观察者的声誉。戴尔声称自己没有方法:“我只是看，然后思考我正在看的东西”，这句话设法同时表现出虚伪和谦虚，因为作者的方法实际上在这本选集的一些细节中得到了揭示。See/Saw真正的介绍——他称之为“后介绍”——只出现在讨论罗兰·巴特的作品的最后阶段，尤其是约翰·伯杰的作品，他的第一本书《讲述的方式》(Ways of Telling, 1986)的主题。戴尔对伯杰的评价很高，后者的“对可见事物的质疑”在他的许多作品中都很明显，因为他试图从历史、文化、技术和艺术的多个角度仔细审视他所看到的东西。巴特和伯杰有着同样的追求，他说，“阐明摄影的本质”，但他们对摄影图像的任何本体论的重要性似乎不如他们的认识论研究重要。有了照片提供的所有信息，有时是无意的——巴特称之为“类比的丰足性”——我们能自信地从照片中获得什么样的知识呢?的确，一台专门用来记录世界表面现象的机器，如何能帮助我们理解其更深层次的潜在过程呢?戴尔引用了伯杰关于桑德的文章《西装与照片》(The Suit and The photo, 1979)作为例证。可以理解的是，大多数关于桑德的研究都集中在他的整体项目上，而这里只对少数几个图像进行了彻底的检查，从它们巨大的整体中抽象出来:一个关于图像的历史社会学。伯杰的方法是把显而易见的事情写下来，就好像它很重要一样，并考虑到它通常很重要的事实。伯杰和戴尔都有一种强烈的好奇心驱使着他们。正如戴尔在最近的一次采访中所说，“一个作家最重要的技能是好奇心……这对我来说一直是一个惊喜的来源
{"title":"See/Saw: Looking at Photographs, Essays 2010–2020","authors":"Brian Stokoe","doi":"10.1080/03087298.2023.2186064","DOIUrl":"https://doi.org/10.1080/03087298.2023.2186064","url":null,"abstract":"Geoff Dyer’s interest in photography began not so much by looking at photographs or by making them, but by reading what other people had written about them. Susan Sontag, Roland Barthes and John Berger emerge as key influences on Dyer’s own critical responses to the medium. This collection brings together more than fifty such responses drawn from a decade of short reviews and longer essays in which Dyer engages in a series of close readings of photographs by August Sander, Alvin Langdon Coburn, Eug ene Atget, Dennis Hopper and Lee Friedlander, to name some of the more famous. Such writing may well have begun as a sideline but is now the author’s ‘main sideline’, and Dyer has himself become a thinker of influence, not least because of his earlier books The Ongoing Moment (2005) and The Street Philosophy of Garry Winogrand (2018). This volume will no doubt further enhance his reputation as a thoughtful, amusing and idiosyncratic observer of photography. Dyer claims to have no method: ‘I just look, and think about what I’m looking at’, a statement that manages to be simultaneously disingenuous and modest as the author’s methodology is in fact revealed in some detail as this anthology proceeds. See/Saw’s real introduction – what he calls an ‘after-intro’ – appears only in the latter stages when discussing the work of Roland Barthes and, particularly, John Berger, the subject of his first book, Ways of Telling (1986). Dyer holds Berger in high regard and the latter’s ‘interrogation of the visible’ is evident in much of his writing as he attempts to closely examine precisely what he is looking at, from the multiple perspectives of history, culture, technology and art. Barthes and Berger shared the same quest, he says, ‘to articulate the essence of photography’, but their importance for any ontology of the photographic image seems less important than their epistemological enquiries. With all the information, sometimes unintended, provided by photographs – what Barthes termed their ‘analogical plenitude’ – just what kind of knowledge might we confidently derive from them? Indeed, how can a machine designed specifically to record the surface appearance of the world contribute to our understanding of its deeper, underlying processes? Dyer cites Berger’s essay on Sander, ‘The Suit and the Photograph’ (1979), as exemplary. While most studies of Sander have understandably focused on his overall project, here was a thoroughgoing examination of only a few images, abstracted from their immense entirety: a historically informed sociology of the image. Berger’s method was to write about the obvious as if it was important, reckoning on the fact that it usually is, and both Berger and Dyer share a sense of being driven by an intense curiosity. As Dyer remarked in a recent interview, ‘The most important skill a writer can have is curiosity [... ] It’s always been a source of surprise to me that","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"220 - 223"},"PeriodicalIF":0.2,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48237996","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 : 2022-01-02DOI: 10.1080/03087298.2022.2112470
Dorota Łuczak, A. Paradowska
Reproductions of artworks were a crucial element of official narratives aimed at shaping Polish identity after World War II. In this article, we explore the strategies employed in constructing visual messages in the first volume of the book series Ziemie Staropolski (Old Poland’s Territories) titled Dolny Śląsk (Lower Silesia), published in 1948 and devoted to the Western territories ceded to Poland after the war. In our case studies, we discuss such aspects as, on the one hand, framing, lighting, viewpoint and selection; on the other, geographical, political and social contexts. We propose two notions to explain the political use of reproductions. The first is geohistorical medium, which we employ in reference to how reproductions actualise the meanings of artworks in relation to geography and history. The second is affective reproduction, which we use to address deliberately shocking arrangements of reproductions with photographs that include ruins, artworks or people. We emphasise that both strategies aim at a specific group of viewers whose experiences oscillate between memories of war and hopes for the future. The reproductions we discuss participated in the construction of the postwar geopolitical order in Central Europe.
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Pub Date : 2022-01-02DOI: 10.1080/03087298.2023.2175979
J. Codell
In this article I explore photogravure catalogues of the Berlin Photographic Company (BPC), a print publisher founded in 1862 specialising in reproductions of works of art, and in particular those published by its New York office from 1892 to 1916. In promoting its reproductions, the BPC connected social, aesthetic and technical knowledge, emphasising the quality of photogravure technologies while listing hundreds of images from diverse styles, historical periods, genres and subjects to appeal to a wide audience. The Company was sensitive to its customers’ cultural aspirations and recognised that the US market was different from that in Europe because of its less rigid class structure and a public motivated by ambitions for cultural knowledge and social mobility. With its wide range of reproductions from Old Masters, nineteenth-century popular and Academic artists, and later early twentieth-century modernists, the BPC appealed to these ambitions by providing photogravure prints – the company specialty – in different sizes, mounts and costs to a public of diverse tastes and economic means. The BPC’s innovations included its global locations in Berlin, Paris, London and New York and its creation of neologisms combining format and process tying the materiality of photogravures to a range of sizes and prices.
{"title":"Cultural Capital and Photographic Technologies at the Berlin Photographic Company in the USA","authors":"J. Codell","doi":"10.1080/03087298.2023.2175979","DOIUrl":"https://doi.org/10.1080/03087298.2023.2175979","url":null,"abstract":"In this article I explore photogravure catalogues of the Berlin Photographic Company (BPC), a print publisher founded in 1862 specialising in reproductions of works of art, and in particular those published by its New York office from 1892 to 1916. In promoting its reproductions, the BPC connected social, aesthetic and technical knowledge, emphasising the quality of photogravure technologies while listing hundreds of images from diverse styles, historical periods, genres and subjects to appeal to a wide audience. The Company was sensitive to its customers’ cultural aspirations and recognised that the US market was different from that in Europe because of its less rigid class structure and a public motivated by ambitions for cultural knowledge and social mobility. With its wide range of reproductions from Old Masters, nineteenth-century popular and Academic artists, and later early twentieth-century modernists, the BPC appealed to these ambitions by providing photogravure prints – the company specialty – in different sizes, mounts and costs to a public of diverse tastes and economic means. The BPC’s innovations included its global locations in Berlin, Paris, London and New York and its creation of neologisms combining format and process tying the materiality of photogravures to a range of sizes and prices.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"42 - 59"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48351785","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 : 2022-01-02DOI: 10.1080/03087298.2023.2180229
Kathryn Kremnitzer
Édouard Manet’s life and work have been studied using photographic sources that provide essential yet still underutilised information about his oeuvre and artistic process. Beginning in the 1860s, Manet employed the firm of Anatole Godet to photograph his paintings, probably as records of stock, and this article considers how Manet may have used these photographs as the basis for tracings and watercolours that served as intermediaries in the production of etchings after several of his canvases. Godet also photographed the posthumous retrospective of Manet’s work in 1884, providing the only known images of that landmark exhibition. After Manet’s death, Léon Leenhoff, the son of Manet’s wife Suzanne Leenhoff, hired Fernand Lochard to photograph works remaining in the artist’s studio, and in several other locations, to illustrate a corresponding inventory. The photographs were annotated by Léon with information about each work including its exhibition history and bound into albums. While select scholars have engaged with these important materials, Manet’s use of photography and the role photography played in the posthumous dissemination of his works remain insufficiently understood. Taking Olympia as a case study, this article aims to demonstrate how these archival sources contribute to Manet studies.
Édouard Manet的生活和工作已经使用摄影资料进行了研究，这些资料提供了关于他的作品和艺术过程的重要但尚未充分利用的信息。从19世纪60年代开始，马奈聘请了Anatole Godet公司为他的画作拍照，可能是作为库存记录。本文考虑了马奈是如何将这些照片作为描迹和水彩画的基础的，这些描迹和水彩是在他的几幅油画之后制作蚀刻版画的中介。Godet还在1884年拍摄了马奈作品的死后回顾展，提供了该里程碑式展览的唯一已知图像。马内去世后，马内妻子苏珊娜·利恩霍夫的儿子莱昂·利恩霍夫聘请费尔南德·洛查德拍摄艺术家工作室和其他几个地方的剩余作品，以说明相应的库存。这些照片由Léon注释了每件作品的信息，包括展览历史，并装订成相册。虽然一些学者参与了这些重要材料的研究，但马奈对摄影的使用以及摄影在其作品死后传播中所起的作用仍然没有得到充分的理解。本文以奥林匹亚为例，旨在展示这些档案来源对马奈研究的贡献。
{"title":"Manet and Photography: Looking at Olympia","authors":"Kathryn Kremnitzer","doi":"10.1080/03087298.2023.2180229","DOIUrl":"https://doi.org/10.1080/03087298.2023.2180229","url":null,"abstract":"Édouard Manet’s life and work have been studied using photographic sources that provide essential yet still underutilised information about his oeuvre and artistic process. Beginning in the 1860s, Manet employed the firm of Anatole Godet to photograph his paintings, probably as records of stock, and this article considers how Manet may have used these photographs as the basis for tracings and watercolours that served as intermediaries in the production of etchings after several of his canvases. Godet also photographed the posthumous retrospective of Manet’s work in 1884, providing the only known images of that landmark exhibition. After Manet’s death, Léon Leenhoff, the son of Manet’s wife Suzanne Leenhoff, hired Fernand Lochard to photograph works remaining in the artist’s studio, and in several other locations, to illustrate a corresponding inventory. The photographs were annotated by Léon with information about each work including its exhibition history and bound into albums. While select scholars have engaged with these important materials, Manet’s use of photography and the role photography played in the posthumous dissemination of his works remain insufficiently understood. Taking Olympia as a case study, this article aims to demonstrate how these archival sources contribute to Manet studies.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"20 - 30"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46730534","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 : 2022-01-02DOI: 10.1080/03087298.2023.2178745
G. Bonne
The art historical congress organised for the 1877 Rubens Year in Antwerp led to the establishment of a committee to collect Rubens’s works through engraved and photographic reproductions (1880–1910). Arguing that the art historical notion of oeuvre originated from the increasing reproducibility of works of art, this article contextualises the Committee’s collection and the fifty-year history of its public display. It does so to reveal the changing perception of graphic and photographic reproductions between the end of the nineteenth century and the interwar period. Whereas the two technologies were originally used interchangeably to obtain a comprehensive picture of Rubens’s oeuvre, they were eventually understood to fulfil separate functions; the first artistic, the second documentary. As a consequence, the Antwerp collection of Rubens’s oeuvre became dispersed.
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Pub Date : 2022-01-02DOI: 10.1080/03087298.2023.2202519
Sofya Dmitrieva, Dominique de Font-Réaulx, M. Henning, Patrizia Di Bello
This special issue is a result of the conference Photographic Art Reproductions, from 1839 to the Present, held online on 23 July 2021 by the University of St Andrews (UK) and the Centre Andr e Chastel (France). A roundtable discussion between Dominique de Font-R eaulx, Patrizia Di Bello, Michelle Henning, Kim Timby and Sofya Dmitrieva closed the conference. By way of an introduction, we publish here a version of this conversation, based on questions subsequently submitted by Sofya Dmitrieva to the speakers.
本特刊是圣安德鲁斯大学（英国）和安德雷·沙特尔中心（法国）于2021年7月23日在线举行的1839年至今的摄影艺术再现会议的成果。Dominique de Font-R eaulx、Patrizia Di Bello、Michelle Henning、Kim Timby和Sofya Dmitrieva之间的圆桌讨论结束了会议。作为介绍，我们在这里发布了这段对话的一个版本，基于Sofya Dmitrieva随后向演讲者提交的问题。
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Pub Date : 2022-01-02DOI: 10.1080/03087298.2022.2102287
Madeleine Page
At first glance, it appears as though Sir Joshua Reynolds’s The Ladies Waldegrave (1780) is in two places at once: Strawberry Hill House and the National Gallery, Edinburgh. Despite their visual indistinguishability, however, the former is a copy of the latter created by Factum Foundation in 2018. In this article, I discuss the ontological relation between paintings and their visually indistinguishable facsimiles, along with certain consequences that relation has for display practices. Traditionally, paintings are understood to be ontologically singular; no copy, however faithful, can ever stand in as the work itself. Using The Ladies Waldegrave, I defend ontological singularity while maintaining that these visually indistinguishable facsimiles can be used to promote engagement with, and a better understanding of, originals. Drawing on the philosophical idea that objects have temporal parts, I suggest that what I call suitable facsimiles – copies that are visually indistinguishable from originals – are representations of particular temporal parts of those originals. My proposal allows paintings to maintain their singularity while acknowledging that some copies share a special relationship with the originals such that the former can stand in for the latter. I conclude by considering issues concerning the display of both originals and suitable facsimiles.
{"title":"Numbering The Ladies Waldegrave: Questions of Status and Display","authors":"Madeleine Page","doi":"10.1080/03087298.2022.2102287","DOIUrl":"https://doi.org/10.1080/03087298.2022.2102287","url":null,"abstract":"At first glance, it appears as though Sir Joshua Reynolds’s The Ladies Waldegrave (1780) is in two places at once: Strawberry Hill House and the National Gallery, Edinburgh. Despite their visual indistinguishability, however, the former is a copy of the latter created by Factum Foundation in 2018. In this article, I discuss the ontological relation between paintings and their visually indistinguishable facsimiles, along with certain consequences that relation has for display practices. Traditionally, paintings are understood to be ontologically singular; no copy, however faithful, can ever stand in as the work itself. Using The Ladies Waldegrave, I defend ontological singularity while maintaining that these visually indistinguishable facsimiles can be used to promote engagement with, and a better understanding of, originals. Drawing on the philosophical idea that objects have temporal parts, I suggest that what I call suitable facsimiles – copies that are visually indistinguishable from originals – are representations of particular temporal parts of those originals. My proposal allows paintings to maintain their singularity while acknowledging that some copies share a special relationship with the originals such that the former can stand in for the latter. I conclude by considering issues concerning the display of both originals and suitable facsimiles.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"46 1","pages":"9 - 19"},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42464907","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 : 2021-10-02DOI: 10.1080/03087298.2021.2145050
Yvette Christiansë
This article discusses photographs in the Seychelles archive of Liberated Africans and in the Mauritian archive of identity documents for indentured Indians or Indian Immigrants. It considers the heterogeneity of their movement in two related contexts, when territorial boundaries and new definitions of labour and photography were drawn into assertions of state and colonial British authority. In the Seychelles, ‘passport-sized’ photographs were fixed and immobile in the Register of Liberated Africans. In Mauritius, identity photographs were attached to documents which individuals carried to prevent what we now call ‘identify theft’ and falsification. At issue is the differential mobility of the images and what they reveal about the circumstances in which ‘free’ people were trapped in and by a British colonial state bureaucracy determined to curb the ‘lawlessness’ of settlers, only to be drawn into an entangled complicity with those it sought to regulate. When European powers were consolidating territorial jurisdictions and boundaries by policing movement across the liquid domain of the Indian and Atlantic oceans, the ‘coming into visibility’ that photography afforded and demanded worked to differentially restrict the movements of racially marked people and to make movement itself the medium of State authority over local capitalists.
{"title":"Coming into Visibility in the Indian Ocean","authors":"Yvette Christiansë","doi":"10.1080/03087298.2021.2145050","DOIUrl":"https://doi.org/10.1080/03087298.2021.2145050","url":null,"abstract":"This article discusses photographs in the Seychelles archive of Liberated Africans and in the Mauritian archive of identity documents for indentured Indians or Indian Immigrants. It considers the heterogeneity of their movement in two related contexts, when territorial boundaries and new definitions of labour and photography were drawn into assertions of state and colonial British authority. In the Seychelles, ‘passport-sized’ photographs were fixed and immobile in the Register of Liberated Africans. In Mauritius, identity photographs were attached to documents which individuals carried to prevent what we now call ‘identify theft’ and falsification. At issue is the differential mobility of the images and what they reveal about the circumstances in which ‘free’ people were trapped in and by a British colonial state bureaucracy determined to curb the ‘lawlessness’ of settlers, only to be drawn into an entangled complicity with those it sought to regulate. When European powers were consolidating territorial jurisdictions and boundaries by policing movement across the liquid domain of the Indian and Atlantic oceans, the ‘coming into visibility’ that photography afforded and demanded worked to differentially restrict the movements of racially marked people and to make movement itself the medium of State authority over local capitalists.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"231 - 244"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45199091","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 : 2021-10-02DOI: 10.1080/03087298.2022.2118435
J. Mazariegos
This article is concerned with photographic images and identity photographs utilised for military counterinsurgent policing in Guatemala City during the civil war (1960–96), in the context of Latin America’s Cold War. The article explores the historical conditions that made militarised policing and its photographic record possible in Guatemala, focusing on a dossier produced in the early 1980s known as Diario Militar. The article pays attention to aesthetic and evidentiary regimes that rely on the indexical force of photographs under circumstances in which indexicality fails. In doing so, it elaborates on counterrevolutionary policing as a way of seeing and not being seen, producing photographic images that at once identify political subjects and attempt to disappear their identities, and how these photographic imaginaries are being re-signified in contemporary struggles for justice in postwar Guatemala.
{"title":"A Death Squad Dossier: Counterrevolutionary Policing, Photographs of Disappearing Identities and Evidentiary Aesthetics in Postwar Guatemala","authors":"J. Mazariegos","doi":"10.1080/03087298.2022.2118435","DOIUrl":"https://doi.org/10.1080/03087298.2022.2118435","url":null,"abstract":"This article is concerned with photographic images and identity photographs utilised for military counterinsurgent policing in Guatemala City during the civil war (1960–96), in the context of Latin America’s Cold War. The article explores the historical conditions that made militarised policing and its photographic record possible in Guatemala, focusing on a dossier produced in the early 1980s known as Diario Militar. The article pays attention to aesthetic and evidentiary regimes that rely on the indexical force of photographs under circumstances in which indexicality fails. In doing so, it elaborates on counterrevolutionary policing as a way of seeing and not being seen, producing photographic images that at once identify political subjects and attempt to disappear their identities, and how these photographic imaginaries are being re-signified in contemporary struggles for justice in postwar Guatemala.","PeriodicalId":13024,"journal":{"name":"History of Photography","volume":"45 1","pages":"351 - 362"},"PeriodicalIF":0.2,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47674603","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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