Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1856713
D. Palmer
ABSTRACT This paper charts a variety of photographic encounters between Asia and Australia, exploring the emergence of Asian-Australian photographers in the context of increasing Asian migration to Australia since the 1970s. It focuses on contemporary photographic artwork produced by Asian migrants to Australia and a recurrent interest in family archives. I argue that the work of Asian-Australian photographers grapples with complex and often difficult histories of family migration, holding up a critical mirror to Australian racism and reminding us that how we understand “Australian photography” has always been a cultural question about who is entitled to be called Australian.
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Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1847174
Loredana Pazzini-Paracciani
Taking a case study approach, this paper focuses on Light from darkness, truth always rises, a series of photographs developed by Vietnamese-American artist Dinh Q. Lê to address the physical and psychological trauma inflicted by Agent Orange on the Vietnamese people in the aftermath of the Vietnam War. From a theoretical and technical perspective, the paper first evaluates the role of memory in Light from darkness, truth always rises. To do so the paper argues for this work to function as Pierre Nora’s lieu de mémoire to reflect on what history transforms and deforms. This is consequently unpacked in the paper as a second line of inquiry: to investigate the relation between contemporary and archival images and how Light from darkness, truth always rises is able to revisit the latter in order to narrate historical events. The photographs are, in fact, inspired by archival images collected from the repository of Tu Du Maternity Hospital in Saigon. Today the archive is available to the public on the internet. This in turn raises ethical questions on conflict of conscience, also discussed in the paper and how Lê navigates these ethical conflicts in his photographs through an aesthetics of divinity.
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Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1859405
Kiu-Wai Chu
Shanshui (mountains and waters) has been an important form of artistic expression in Chinese art since ancient times. With the introduction of photography in the early twentieth century, it has undergone several phases of changes. From the works of photographic artists Lang Jingshan, Yao Lu and Yang Yongliang, this article explores how shanshui aesthetics has been re-appropriated from classical ink-and-water paintings to modern photography over the past century. It is argued that modern and contemporary shanshui, being reinvented in the form of pictorial photo collage/composite photography, structures and shapes our perceptions through new perspectives. In the process, it has made some of the ideological ruptures visible, pushing shanshui to become socially, politically and environmentally reflexive in China’s times of transitions and crises. Unlike literati painters in the ancient times who deliberately avoided politics and instead immersed themselves in creating nature paintings as a form of escapism, Lang Jingshan’s composite photography subtly and intricately reflects the political ruptures experienced in China in the mid-twentieth century. Entering the twenty-first century, the emerging Anthropocene discourse is quickly reshaping our perceptions and the way art represents human-nature relationships. Contemporary artists like Yao Lu and Yang Yongliang create photographic shanshui collages that represent the excessively urbanized environments and observe the environmentally challenged social reality from both personal perspectives and beyond. From the political tensions we see in Lang Jingshan’s works since the 1950s, to the ecological crises in the Anthropocene epoch as reflected in Yao Lu and Yang Yongliang’s works, this paper reveals the ruptures hidden within modern and contemporary shanshui. It also shows how shanshui evolves under the camera lens and continues to be redefined according to ideologies of the time.
{"title":"Ruptured Shanshui: landscape composite photography from Lang Jingshan to Yang Yongliang","authors":"Kiu-Wai Chu","doi":"10.1080/17540763.2020.1859405","DOIUrl":"https://doi.org/10.1080/17540763.2020.1859405","url":null,"abstract":"Shanshui (mountains and waters) has been an important form of artistic expression in Chinese art since ancient times. With the introduction of photography in the early twentieth century, it has undergone several phases of changes. From the works of photographic artists Lang Jingshan, Yao Lu and Yang Yongliang, this article explores how shanshui aesthetics has been re-appropriated from classical ink-and-water paintings to modern photography over the past century. It is argued that modern and contemporary shanshui, being reinvented in the form of pictorial photo collage/composite photography, structures and shapes our perceptions through new perspectives. In the process, it has made some of the ideological ruptures visible, pushing shanshui to become socially, politically and environmentally reflexive in China’s times of transitions and crises. Unlike literati painters in the ancient times who deliberately avoided politics and instead immersed themselves in creating nature paintings as a form of escapism, Lang Jingshan’s composite photography subtly and intricately reflects the political ruptures experienced in China in the mid-twentieth century. Entering the twenty-first century, the emerging Anthropocene discourse is quickly reshaping our perceptions and the way art represents human-nature relationships. Contemporary artists like Yao Lu and Yang Yongliang create photographic shanshui collages that represent the excessively urbanized environments and observe the environmentally challenged social reality from both personal perspectives and beyond. From the political tensions we see in Lang Jingshan’s works since the 1950s, to the ecological crises in the Anthropocene epoch as reflected in Yao Lu and Yang Yongliang’s works, this paper reveals the ruptures hidden within modern and contemporary shanshui. It also shows how shanshui evolves under the camera lens and continues to be redefined according to ideologies of the time.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1859405","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42427561","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 : 2021-01-02DOI: 10.1080/17540763.2020.1847176
Yin-Hua Chu
This paper treats “photobook” as a metaphorical composition that implies the role of photographer-auteur, the juxtaposition of text and image, the editor’s decision on layout and sequence, as well as the designer’s and publisher’s performance on printed material. Such an approach of treating “photobook” as a visual account of history is closely linked to the distinct cultural background of Taiwan. As an island located in the centre of the East-Asian island arc, the western edge of the Pacific Ocean, and the southeast coast of the continent of Asia, Taiwan, also known as “Ilha Formosa”, has been governed by different colonial regimes in different periods of time, including the Netherlands, Spain, the Ming and Qing Dynasties, Japan, and the Republic of China. The production of photobooks in Taiwan history was inextricably intertwined with the cultivation of Taiwanese subjectivity that represented the shift from the colonialists’ perspective of this island to the diverse and multi-layered self-awareness. To identify the factors that led to these essential variations over the history of Taiwan photography, a chronological approach is imperative. Based on this insight, the discussion of this essay is chronologically structured in four parts: (1) from pre-1895 to the Japanese rule period (1895–1945); (2) from the great retreat to the White Terror (1945–1987); (3) from the lifting of martial law to the millennium (1987–2000); and (4) the 2000s and after.
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Pub Date : 2020-09-01DOI: 10.1080/17540763.2020.1774919
N. Dietschy
Many contemporary artists’ publications pay tribute to famous artists’ books or photobooks, such as Ed Ruscha’s conceptual artist’s books or Robert Frank’s landmark photobook The Americans. This paper examines Mishka Henner’s version of Frank’s The Americans that he appropriated and partly erased. It questions the process of re-appropriation and studies Henner’s approach: is it a variation in Goodman’s term? Or a remake? It explores both the act of remaking a seminal work, as well as destroying it. It compares Henner’s work to other contemporary projects based on Frank’s book, by Jonathan Lewis, Michel Campeau, Andreas Schmidt, Andrew Emond, as well as Dafydd Hughes, and concludes that these various versions after a classic photobook is a means to be part of a tradition, to be part of what Leo Steinberg called “the glorious company”, as well as departing from its legacy.
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Pub Date : 2020-08-11DOI: 10.1080/17540763.2020.1779791
Surya Bowyer
American photographer Lee Friedlander’s photographs are often deemed to be unreadable. This critical assessment of his work is principally based on his manipulation of reflection, framing, and superimposition. This essay takes these manipulations as its subject. I suggest one method of reading the unreadable, focusing particularly on two self-portraits: Tallahassee, Florida 1969 and Madison, Wisconsin 1966. My approach weaves together the ideas of Jacques Lacan and Homi Bhabha. In the first section, I place Lacan’s concept of the stain into dialogue with the recurring appearance of Friedlander’s own shadow in his self-portraiture. In the second, I bring Bhabha into conversation with Lacan, showing crossovers in how they conceptualise reflections. I argue that Tallahassee and Madison visually articulate these crossovers. In the third, I use Bhabha’s concept of doubling to approach the two photographs’ delineation of the Lacanian gaze. In forging links between Friedlander, Lacan, and Bhabha, I propose two complementary ideas. The first is that Friedlander’s photographs help to illustrate commonality between Lacan’s and Bhabha’s work. The second is that Lacan and Bhabha help us read Friedlander’s often perplexing self-portraits. By expressing an absence of the self, these photographs comment on the impossibility of self-portraiture.
{"title":"SEEING DOUBLE: THE SUBJECT OF VISION IN LEE FRIEDLANDER’S SELF-PORTRAITURE","authors":"Surya Bowyer","doi":"10.1080/17540763.2020.1779791","DOIUrl":"https://doi.org/10.1080/17540763.2020.1779791","url":null,"abstract":"American photographer Lee Friedlander’s photographs are often deemed to be unreadable. This critical assessment of his work is principally based on his manipulation of reflection, framing, and superimposition. This essay takes these manipulations as its subject. I suggest one method of reading the unreadable, focusing particularly on two self-portraits: Tallahassee, Florida 1969 and Madison, Wisconsin 1966. My approach weaves together the ideas of Jacques Lacan and Homi Bhabha. In the first section, I place Lacan’s concept of the stain into dialogue with the recurring appearance of Friedlander’s own shadow in his self-portraiture. In the second, I bring Bhabha into conversation with Lacan, showing crossovers in how they conceptualise reflections. I argue that Tallahassee and Madison visually articulate these crossovers. In the third, I use Bhabha’s concept of doubling to approach the two photographs’ delineation of the Lacanian gaze. In forging links between Friedlander, Lacan, and Bhabha, I propose two complementary ideas. The first is that Friedlander’s photographs help to illustrate commonality between Lacan’s and Bhabha’s work. The second is that Lacan and Bhabha help us read Friedlander’s often perplexing self-portraits. By expressing an absence of the self, these photographs comment on the impossibility of self-portraiture.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1779791","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45559507","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 : 2020-08-11DOI: 10.1080/17540763.2020.1779792
Harrison Adams
Paul de Man makes a distinction between interpretation and reading as that which finds meaning in a text versus an analysis of the relationship between a text’s rhetorical and grammatical dimensions, respectively. Interpretation, as he defines it, assumes that a text’s meaning is largely transparent and that there is no disharmony between how it means and what it means. Reading, on the other hand, makes no such assumptions: it shows how a text’s meaning cannot be reduced to grammar and seeks out moments of indeterminacy between its literal and figurative meanings. I propose a “reading” of Francesca Woodman’s photographs that demonstrates how the critical, largely feminist, literature on the artist engages in interpretation and thus fails to appreciate the artist’s exploration of photography’s conditions of representation. In the process, I argue that her photographs function like hypograms, a concept of de Man by way of Saussure, or infra-texts. In short, Woodman’s photographs are readings of photography and womanhood and her art defies conventional understandings of artistic identity and agency.
Paul de Man将解读和阅读区分为在文本中找到意义的解读和对文本修辞和语法维度之间关系的分析。正如他所定义的那样，解释假设文本的含义在很大程度上是透明的，它的含义和含义之间没有不和谐。另一方面，阅读并没有做出这样的假设：它展示了文本的含义如何不能简化为语法，并寻找其字面意义和比喻意义之间的不确定性时刻。我建议对弗朗西斯卡·伍德曼的照片进行“解读”，以展示关于艺术家的批判性的、主要是女权主义的文学作品是如何进行解读的，从而未能欣赏艺术家对摄影表现条件的探索。在这个过程中，我认为她的照片的功能类似于深成图，一种通过索绪尔或基础文本的方式对德曼的概念。简言之，伍德曼的照片是对摄影和女性身份的解读，她的艺术挑战了对艺术身份和代理的传统理解。
{"title":"FRANCESCA WOODMAN: WATER SPECIFIED","authors":"Harrison Adams","doi":"10.1080/17540763.2020.1779792","DOIUrl":"https://doi.org/10.1080/17540763.2020.1779792","url":null,"abstract":"Paul de Man makes a distinction between interpretation and reading as that which finds meaning in a text versus an analysis of the relationship between a text’s rhetorical and grammatical dimensions, respectively. Interpretation, as he defines it, assumes that a text’s meaning is largely transparent and that there is no disharmony between how it means and what it means. Reading, on the other hand, makes no such assumptions: it shows how a text’s meaning cannot be reduced to grammar and seeks out moments of indeterminacy between its literal and figurative meanings. I propose a “reading” of Francesca Woodman’s photographs that demonstrates how the critical, largely feminist, literature on the artist engages in interpretation and thus fails to appreciate the artist’s exploration of photography’s conditions of representation. In the process, I argue that her photographs function like hypograms, a concept of de Man by way of Saussure, or infra-texts. In short, Woodman’s photographs are readings of photography and womanhood and her art defies conventional understandings of artistic identity and agency.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1779792","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49041322","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 : 2020-08-11DOI: 10.1080/17540763.2020.1774917
Evelyn Runge
This article reconfigures the history of analogue photo agencies in the digital image economy. It traces the development of the global image market since 1989, discusses the mechanisms of expansion due to digitalisation, and explores its increasing impact on photojournalists and users. The fact that images travel because of corporate alliances assumes great significance because corporate actors regard images as commodities. However, images’ journeys are not visible to recipients even though layperson’s work is incorporated in professional photo agencies. After a critical description of the development of the global image market with focus on the merger of Getty Images and Corbis, the article discusses the power of stock photography as “joker images” according to Wolfgang Ullrich and their influences on the work of laypersons, as presented in the Flickr Collection by Getty Images. Furthermore, the article investigates the emergence of superagencies on the global image market, interconnectedness, and differentiation.
{"title":"THE TRAVELS OF PHOTOGRAPHS WITHIN THE GLOBAL IMAGE MARKET. HOW MONOPOLISATION, INTERCONNECTEDNESS, AND DIFFERENTIATION SHAPE THE ECONOMICS OF PHOTOGRAPHY","authors":"Evelyn Runge","doi":"10.1080/17540763.2020.1774917","DOIUrl":"https://doi.org/10.1080/17540763.2020.1774917","url":null,"abstract":"This article reconfigures the history of analogue photo agencies in the digital image economy. It traces the development of the global image market since 1989, discusses the mechanisms of expansion due to digitalisation, and explores its increasing impact on photojournalists and users. The fact that images travel because of corporate alliances assumes great significance because corporate actors regard images as commodities. However, images’ journeys are not visible to recipients even though layperson’s work is incorporated in professional photo agencies. After a critical description of the development of the global image market with focus on the merger of Getty Images and Corbis, the article discusses the power of stock photography as “joker images” according to Wolfgang Ullrich and their influences on the work of laypersons, as presented in the Flickr Collection by Getty Images. Furthermore, the article investigates the emergence of superagencies on the global image market, interconnectedness, and differentiation.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-08-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2020.1774917","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43083971","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 : 2020-08-11DOI: 10.1080/17540763.2020.1774920
J. Guerrero-Hernández
In dialogue with ongoing discussions about decolonization of trauma theory that account for cultural trauma and sustained and long trauma processes, this paper discusses Alberto Baraya’s series Service Included (1997) in order to identify decolonial challenges and possibilities for posttraumatic photography. It argues that this series is a performative work that proposes a critical and decolonial revision of trauma culture, by appropriating the symbolic dimensions of Spanish-Catholic motifs of sacred violence historically and currently employed as cultural mechanisms for representation of cultural trauma in Colombia. This paper recovers and discusses Baraya’s early, forgotten work and original appropriation of analogue photography operations with analogue photography, and proposes that the challenges Service Included offer for posttraumatic photography consist in both retracing symbolic active processes for dealing with trauma, and retracing photography’s history as a medium of expression of cultural trauma, in order to create spaces for “displaced difference” within cultural trauma and trauma culture.
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