Pub Date : 2022-11-01DOI: 10.1215/21582025-10048212
Shimrit Lee
This article explores the role of the visual field in establishing and expanding the frontier of Jewish settlement in pre-state Palestine. In the late nineteenth and early twentieth centuries, Zionist funds, including the Jewish National Fund and the Foundation Fund, among others, produced and distributed visual material in an ideologically controlled way that was meant to resonate with American audiences deeply invested in their own frontier mythologies. Through an examination of the work of formative Zionist photographers Abraham Soskin and Zoltan Kluger, as well as visual forms found at the Jewish Palestine Pavilion in the 1939–40 World's Fair in New York, the author identifies three central tenets of frontier building that wove their way through the Zionist visual field: transformation, citizenship, and security.
{"title":"“Then and Now”: The Making of a Visual Frontier","authors":"Shimrit Lee","doi":"10.1215/21582025-10048212","DOIUrl":"https://doi.org/10.1215/21582025-10048212","url":null,"abstract":"\u0000 This article explores the role of the visual field in establishing and expanding the frontier of Jewish settlement in pre-state Palestine. In the late nineteenth and early twentieth centuries, Zionist funds, including the Jewish National Fund and the Foundation Fund, among others, produced and distributed visual material in an ideologically controlled way that was meant to resonate with American audiences deeply invested in their own frontier mythologies. Through an examination of the work of formative Zionist photographers Abraham Soskin and Zoltan Kluger, as well as visual forms found at the Jewish Palestine Pavilion in the 1939–40 World's Fair in New York, the author identifies three central tenets of frontier building that wove their way through the Zionist visual field: transformation, citizenship, and security.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122179701","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1215/21582025-10048262
H. Oh
This is an interview with a leading Korean photographer Joo Myung Duck (born in 1940), conducted as a part of the Korean Artist Digital Archive. Joo has had a long photographic career as a photojournalist and documentary photographer and is credited as the most eminent figure in Korean contemporary photography since the 1960s. Joo's photography encompasses documentary, landscape, and portraiture with a focus on views of the nature and cultural legacies of Korea, which epitomized his historic consciousness and aesthetic inspirations. This interview situates Joo Myung Duck within the context of contemporary Korean photography and provides an opportunity to comprehend Korean documentary photography.
{"title":"In Pursuit of a Synthesis of Documentary and Aesthetic Vision: An Interview with Korean Photographer Joo Myung Duck","authors":"H. Oh","doi":"10.1215/21582025-10048262","DOIUrl":"https://doi.org/10.1215/21582025-10048262","url":null,"abstract":"\u0000 This is an interview with a leading Korean photographer Joo Myung Duck (born in 1940), conducted as a part of the Korean Artist Digital Archive. Joo has had a long photographic career as a photojournalist and documentary photographer and is credited as the most eminent figure in Korean contemporary photography since the 1960s. Joo's photography encompasses documentary, landscape, and portraiture with a focus on views of the nature and cultural legacies of Korea, which epitomized his historic consciousness and aesthetic inspirations. This interview situates Joo Myung Duck within the context of contemporary Korean photography and provides an opportunity to comprehend Korean documentary photography.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"478 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123229159","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1215/21582025-10048232
Tong Lam
Drawing on field observations in Dandong and Sinuiju, corresponding border cities in China and North Korea, respectively, this extended visual essay meditates on the mutual imbrication of landscape and history in this border-contact zone. Whereas Chinese soldiers and tourists passing through Dandong once used North Korea—real or imagined—as the photographic backdrop to construct their socialist imageries from comradeship to the industrializing future, mainland tourists today regard North Korea as an economic and political failure vis-à-vis China's high-speed growth. Aside from being a trade hub, Dandong has become a giant theme park for those who seek to consume everything North Korean. Meanwhile, amid the sense of Chinese superiority over their neighboring country on the other side of the Yalu River, China's own past, much like the murky river that divides the two historic port cities, has become more disarticulated than ever.
{"title":"At the Borderland of History","authors":"Tong Lam","doi":"10.1215/21582025-10048232","DOIUrl":"https://doi.org/10.1215/21582025-10048232","url":null,"abstract":"\u0000 Drawing on field observations in Dandong and Sinuiju, corresponding border cities in China and North Korea, respectively, this extended visual essay meditates on the mutual imbrication of landscape and history in this border-contact zone. Whereas Chinese soldiers and tourists passing through Dandong once used North Korea—real or imagined—as the photographic backdrop to construct their socialist imageries from comradeship to the industrializing future, mainland tourists today regard North Korea as an economic and political failure vis-à-vis China's high-speed growth. Aside from being a trade hub, Dandong has become a giant theme park for those who seek to consume everything North Korean. Meanwhile, amid the sense of Chinese superiority over their neighboring country on the other side of the Yalu River, China's own past, much like the murky river that divides the two historic port cities, has become more disarticulated than ever.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121604671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1215/21582025-10048272
Joanne So Jeong Chung
This exhibition review spotlights presentations shared during the virtual symposium “Photography and Korea: History and Practice,” which was held February 24–26, 2022.
{"title":"Photography and Korea: History and Practice","authors":"Joanne So Jeong Chung","doi":"10.1215/21582025-10048272","DOIUrl":"https://doi.org/10.1215/21582025-10048272","url":null,"abstract":"\u0000 This exhibition review spotlights presentations shared during the virtual symposium “Photography and Korea: History and Practice,” which was held February 24–26, 2022.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127382915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1215/21582025-10048242
Deborah Nixon
This essay considers a set of photographs taken in early 1947 in Lahore and in Punjab when the region was still united in India. The images traveled from India to Australia in 1948, and a single image journeyed to the world's first Partition Museum in Amritsar in 2017. They represent a moment of tangled relations between object, history, migration, and technology. The photographer was young and, like his subjects, was unaware of the horror that would erupt outside the frame a few months after the photographs were taken. The British government placed great burdens on the shoulders of young men, as hinted at in the images. Seventy-five years later, viewers are privy to that knowledge, which lends a layer of pathos to the images. This essay draws on oral history and family photographs to explore a time, experience, and place just before one of the great tragic migrations of twentieth-century history.
{"title":"Invisible Journey","authors":"Deborah Nixon","doi":"10.1215/21582025-10048242","DOIUrl":"https://doi.org/10.1215/21582025-10048242","url":null,"abstract":"\u0000 This essay considers a set of photographs taken in early 1947 in Lahore and in Punjab when the region was still united in India. The images traveled from India to Australia in 1948, and a single image journeyed to the world's first Partition Museum in Amritsar in 2017. They represent a moment of tangled relations between object, history, migration, and technology. The photographer was young and, like his subjects, was unaware of the horror that would erupt outside the frame a few months after the photographs were taken. The British government placed great burdens on the shoulders of young men, as hinted at in the images. Seventy-five years later, viewers are privy to that knowledge, which lends a layer of pathos to the images. This essay draws on oral history and family photographs to explore a time, experience, and place just before one of the great tragic migrations of twentieth-century history.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"124 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130798587","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1215/21582025-10048252
Morris Lum, Brandon Leung
In this conversation critic Brandon Leung discusses with photographer Morris Lum the political and historical resonances of Chinatown for diasporic Chinese in North America, focusing on the significance of a vernacular form of representation.
{"title":"Tong Yan Gaai: A North American Chinatown Vernacular","authors":"Morris Lum, Brandon Leung","doi":"10.1215/21582025-10048252","DOIUrl":"https://doi.org/10.1215/21582025-10048252","url":null,"abstract":"\u0000 In this conversation critic Brandon Leung discusses with photographer Morris Lum the political and historical resonances of Chinatown for diasporic Chinese in North America, focusing on the significance of a vernacular form of representation.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130323611","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1215/21582025-9710612
Haely Chang
The History of Women in Korean Photography I exhibition, held at SeMA, Buk-Seoul Museum of Art, in Seoul, South Korea, from June 29 to September 26, 2021, sheds light on an overlooked history of Korean female photographers from the 1900s to the 1980s. The first section of the exhibition chronicles the emergence of female photographers at the dawn of the twentieth century through a timeline featuring women and a shelf with archival materials covering their works. The second section focuses on ten female photographers active during the 1980s. Although their activities were a part of a larger cultural “movement” of the era, the exhibited photographs suggest multiple readings of the term movement. The female photographers moved beyond the boundary of their nation by traveling abroad to expand their approaches to photography. Upon returning to Korea, they became part of a movement reconceptualizing postmodern photography. Lastly, the exhibition itself was a result of a curatorial movement, one which renders the categories of what can and cannot be reflected in histories of art malleable.
{"title":"When the Archive Becomes a Movement","authors":"Haely Chang","doi":"10.1215/21582025-9710612","DOIUrl":"https://doi.org/10.1215/21582025-9710612","url":null,"abstract":"\u0000 The History of Women in Korean Photography I exhibition, held at SeMA, Buk-Seoul Museum of Art, in Seoul, South Korea, from June 29 to September 26, 2021, sheds light on an overlooked history of Korean female photographers from the 1900s to the 1980s. The first section of the exhibition chronicles the emergence of female photographers at the dawn of the twentieth century through a timeline featuring women and a shelf with archival materials covering their works. The second section focuses on ten female photographers active during the 1980s. Although their activities were a part of a larger cultural “movement” of the era, the exhibited photographs suggest multiple readings of the term movement. The female photographers moved beyond the boundary of their nation by traveling abroad to expand their approaches to photography. Upon returning to Korea, they became part of a movement reconceptualizing postmodern photography. Lastly, the exhibition itself was a result of a curatorial movement, one which renders the categories of what can and cannot be reflected in histories of art malleable.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121969581","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1215/21582025-9710602
R. Viswanathan
Two recent exhibitions in New York City invite thoughts about the meanings and possibilities of photography in art. Featuring the works of the artists Gauri Gill and Farideh Sakhaeifar, the exhibitions explore unconventional methods of photo-taking and making. Long known for her collaborative practice, Gill's work features multiple authors and subjects who play with photographic conventions and subject-object relations. Her subjects devise their presentation and mask their faces. Pointedly rejecting the ethnographic perspective, Gill's subjects exercise a level of freedom from the fixity of the camera. Sakhaeifar, from a markedly critical vantage point, draws attention to the ways that photography can obscure its subjects. Deeply sensitive to the histories of photography, both artists visualize the things that photography cannot contour—horror, pain, joy, and the unreal.
{"title":"Playing with Photographs","authors":"R. Viswanathan","doi":"10.1215/21582025-9710602","DOIUrl":"https://doi.org/10.1215/21582025-9710602","url":null,"abstract":"\u0000 Two recent exhibitions in New York City invite thoughts about the meanings and possibilities of photography in art. Featuring the works of the artists Gauri Gill and Farideh Sakhaeifar, the exhibitions explore unconventional methods of photo-taking and making. Long known for her collaborative practice, Gill's work features multiple authors and subjects who play with photographic conventions and subject-object relations. Her subjects devise their presentation and mask their faces. Pointedly rejecting the ethnographic perspective, Gill's subjects exercise a level of freedom from the fixity of the camera. Sakhaeifar, from a markedly critical vantage point, draws attention to the ways that photography can obscure its subjects. Deeply sensitive to the histories of photography, both artists visualize the things that photography cannot contour—horror, pain, joy, and the unreal.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132979773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1215/21582025-9710562
Menglan Chen
This article examines Chinese spirit photography practiced by a spiritualist (lingxue 靈學) group during China's enlightenment movement in the late 1910s. Integrating the trope of photography with Daoist divinatory rituals (fuji 扶乩), lingxue scholars claimed to have finally “photographed” immortal spirits but used shadow to render their spectral likeness. Situating this conception of photography in the Daoist practice of visualizing the formless and the true, this article asks: what is the implication of marrying the ancient search for the invisible with an obsession with the empirically real? This article argues that Chinese spirit photography was not simply superstition nor a local appropriation of modern visual technology. Rather, it offers a provocative take on the nature of photographic likeness and encapsulates a turn-of-the-century, visual-epistemic shift in the relationship between seeing and imaging. This case study encourages the exploration of the conceptual potential of the Chinese designation of photography, sheying 攝影, not as “writing with light” but as “capturing shadows.”
{"title":"Photographing the Invisible: Immortal Spirit Photography and China's En(light)enment","authors":"Menglan Chen","doi":"10.1215/21582025-9710562","DOIUrl":"https://doi.org/10.1215/21582025-9710562","url":null,"abstract":"\u0000 This article examines Chinese spirit photography practiced by a spiritualist (lingxue 靈學) group during China's enlightenment movement in the late 1910s. Integrating the trope of photography with Daoist divinatory rituals (fuji 扶乩), lingxue scholars claimed to have finally “photographed” immortal spirits but used shadow to render their spectral likeness. Situating this conception of photography in the Daoist practice of visualizing the formless and the true, this article asks: what is the implication of marrying the ancient search for the invisible with an obsession with the empirically real? This article argues that Chinese spirit photography was not simply superstition nor a local appropriation of modern visual technology. Rather, it offers a provocative take on the nature of photographic likeness and encapsulates a turn-of-the-century, visual-epistemic shift in the relationship between seeing and imaging. This case study encourages the exploration of the conceptual potential of the Chinese designation of photography, sheying 攝影, not as “writing with light” but as “capturing shadows.”","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123865420","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-01DOI: 10.1215/21582025-9710582
Franz Prichard
This article explores the dynamic forms of positive feedback found in Hiroko Komatsu's 2017 photography installation, The Execution of Personal Autonomy. This article details how Komatsu's installation generates an intensive interface among photographed materials and photochemical materialities that constitute a noise-like interface akin to the creative production of feedback in Noise music. As a redistribution of affective attunements that inhere within the urban landscape, this article discusses how Komatsu's photographic forms of feedback offer an evolving site for grasping, and potentially reimagining, the reproductive processes of capitalist society. Komatsu's photographic praxis reveals a novel understanding of photography's own role as a material and affective “infrastructure” critical to the reproductive relations of neoliberal and state capitalism.
本文探讨了小松裕子(Hiroko Komatsu) 2017年的摄影装置作品《个人自主性的执行》(the Execution of Personal Autonomy)中积极反馈的动态形式。本文详细介绍了小松的装置如何在摄影材料和光化学材料之间产生密集的界面，形成类似于噪音音乐中反馈的创造性生产的类似噪音的界面。作为城市景观中固有的情感调谐的再分配，本文讨论了小松的摄影形式反馈如何为把握和潜在地重新想象资本主义社会的生殖过程提供了一个不断发展的场所。小松的摄影实践揭示了对摄影作为对新自由主义和国家资本主义的繁殖关系至关重要的物质和情感“基础设施”的角色的一种新颖的理解。
{"title":"The Feedback and Noise of Hiroko Komatsu's Photographic Materialities","authors":"Franz Prichard","doi":"10.1215/21582025-9710582","DOIUrl":"https://doi.org/10.1215/21582025-9710582","url":null,"abstract":"\u0000 This article explores the dynamic forms of positive feedback found in Hiroko Komatsu's 2017 photography installation, The Execution of Personal Autonomy. This article details how Komatsu's installation generates an intensive interface among photographed materials and photochemical materialities that constitute a noise-like interface akin to the creative production of feedback in Noise music. As a redistribution of affective attunements that inhere within the urban landscape, this article discusses how Komatsu's photographic forms of feedback offer an evolving site for grasping, and potentially reimagining, the reproductive processes of capitalist society. Komatsu's photographic praxis reveals a novel understanding of photography's own role as a material and affective “infrastructure” critical to the reproductive relations of neoliberal and state capitalism.","PeriodicalId":368524,"journal":{"name":"Trans Asia Photography","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128665856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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