Pub Date : 2022-09-02DOI: 10.1080/17540763.2022.2096678
Sini Kaipainen
The present study addresses one possible template for exploring the meanings of photojournalistic self-presentation on Instagram. I employ automedial close reading for the data collected from one Instagram user and his profile in the cases of two professional photojournalists: Ed Kashi and Sebastian Rich. I test and develop the process of close reading in the context of Instagram and professional photojournalism. I am founding this practice on an active, sensitive interpretation process, not code identification, by combining qualitative research and autoethnographic personal narrative. The approach implies a theoretical, conceptual, and contextual reflection with and against the texts and subjects of study. This study frames the automedial production on Instagram as readable texts. Instagram-based research into photojournalism as a profession and practice needs theory-based qualitative approaches, such as close reading, based on small datasets. Whilst its focus is on the methodological approach, the paper opens up perspectives on studying the self-presentational identity work of an Instagram author, showing the value of automedial close reading.
{"title":"A critically methodological approach: reading closely the Instagram profile of a photojournalist","authors":"Sini Kaipainen","doi":"10.1080/17540763.2022.2096678","DOIUrl":"https://doi.org/10.1080/17540763.2022.2096678","url":null,"abstract":"The present study addresses one possible template for exploring the meanings of photojournalistic self-presentation on Instagram. I employ automedial close reading for the data collected from one Instagram user and his profile in the cases of two professional photojournalists: Ed Kashi and Sebastian Rich. I test and develop the process of close reading in the context of Instagram and professional photojournalism. I am founding this practice on an active, sensitive interpretation process, not code identification, by combining qualitative research and autoethnographic personal narrative. The approach implies a theoretical, conceptual, and contextual reflection with and against the texts and subjects of study. This study frames the automedial production on Instagram as readable texts. Instagram-based research into photojournalism as a profession and practice needs theory-based qualitative approaches, such as close reading, based on small datasets. Whilst its focus is on the methodological approach, the paper opens up perspectives on studying the self-presentational identity work of an Instagram author, showing the value of automedial close reading.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46147877","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 : 2022-09-02DOI: 10.1080/17540763.2022.2108885
Jane Vuorinen
In historical and theoretical writings on photography and sculpture, the two media are mostly addressed separately, with some points of overlap. The aim of this article is to examine artworks by contemporary artists Rachel de Joode and artist duo Nerhol from the hypothesis that they are not either photography or sculpture, but both and even more. They occupy new spaces, both material/physical and conceptual, reaching dimensions that are more-than: more than photography and more than sculpture. I aim for a renewed understanding of these media through diffractive reading, an approach with roots in feminist and new materialist discourse. Diffractive reading is about understanding things through each other, rather than finding meaning through preconceived static oppositions. As the artworks analyzed are understood as material-discursive practices, the theoretical and historical backgrounds of both photography and sculpture become increasingly relevant. How can and how should photography and sculpture be theorized as expanding fields? How do their ways of making meaning differ from each other and how do they converge? Through diffractive reading, photography and sculpture are not understood as two separate strands of practice coming together, but rather as manifestations of hybrid identities within the same artwork.
在关于摄影和雕塑的历史和理论著作中，这两种媒介大多是分开处理的，有些重叠。本文的目的是研究当代艺术家Rachel de Joode和艺术家二人组Nerhol的作品，假设它们不是摄影或雕塑，而是两者兼而有之，甚至更多。它们占据了新的空间，包括材料/物理和概念，达到了超越摄影和雕塑的维度。我的目标是通过衍射阅读来重新理解这些媒体，这种方法植根于女权主义和新唯物主义话语。衍射阅读是通过相互理解事物，而不是通过先入为主的静态对立来寻找意义。随着所分析的艺术品被理解为物质话语实践，摄影和雕塑的理论和历史背景变得越来越相关。摄影和雕塑如何以及应该如何被理论化为不断扩展的领域？他们创造意义的方式有何不同，又是如何趋同的？通过衍射阅读，摄影和雕塑并不是被理解为两条单独的实践链，而是同一件艺术品中混合身份的表现。
{"title":"More-than photography and sculpture: a diffractive reading","authors":"Jane Vuorinen","doi":"10.1080/17540763.2022.2108885","DOIUrl":"https://doi.org/10.1080/17540763.2022.2108885","url":null,"abstract":"In historical and theoretical writings on photography and sculpture, the two media are mostly addressed separately, with some points of overlap. The aim of this article is to examine artworks by contemporary artists Rachel de Joode and artist duo Nerhol from the hypothesis that they are not either photography or sculpture, but both and even more. They occupy new spaces, both material/physical and conceptual, reaching dimensions that are more-than: more than photography and more than sculpture. I aim for a renewed understanding of these media through diffractive reading, an approach with roots in feminist and new materialist discourse. Diffractive reading is about understanding things through each other, rather than finding meaning through preconceived static oppositions. As the artworks analyzed are understood as material-discursive practices, the theoretical and historical backgrounds of both photography and sculpture become increasingly relevant. How can and how should photography and sculpture be theorized as expanding fields? How do their ways of making meaning differ from each other and how do they converge? Through diffractive reading, photography and sculpture are not understood as two separate strands of practice coming together, but rather as manifestations of hybrid identities within the same artwork.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47974809","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 : 2022-09-02DOI: 10.1080/17540763.2022.2096680
Noam Gal
By experimenting with a practice called Joint Spectatorship several questions from the heart of the philosophy of photography are brought to consideration: the relation between the medium of photography and the idea of looking; the difference between seeing art and making sense of the art seen; the political aspects of collective spectatorship in public spaces; and the consequences that alternative pedagogies have on the divide between the university and the museum as the loci of art history. Joint Spectatorship is thus investigated through various conceptualizations of looking at photographs, from Henry William Fox Talbot’s and Walter Benjamin’s to later literary theory of “close reading” and the critique of institutions of knowledge.
通过一项名为“联合观测者”的实践，我们考虑了摄影哲学核心的几个问题：摄影媒介和视觉观念之间的关系；看到艺术和理解所看到的艺术之间的区别；公共场所集体观众的政治方面；以及替代教学法对大学和博物馆之间作为艺术史中心的分歧所产生的影响。因此，从亨利·威廉·福克斯·塔尔博特（Henry William Fox Talbot）和沃尔特·本杰明（Walter Benjamin。
{"title":"Joint spectatorship: collective experiments with photography","authors":"Noam Gal","doi":"10.1080/17540763.2022.2096680","DOIUrl":"https://doi.org/10.1080/17540763.2022.2096680","url":null,"abstract":"By experimenting with a practice called Joint Spectatorship several questions from the heart of the philosophy of photography are brought to consideration: the relation between the medium of photography and the idea of looking; the difference between seeing art and making sense of the art seen; the political aspects of collective spectatorship in public spaces; and the consequences that alternative pedagogies have on the divide between the university and the museum as the loci of art history. Joint Spectatorship is thus investigated through various conceptualizations of looking at photographs, from Henry William Fox Talbot’s and Walter Benjamin’s to later literary theory of “close reading” and the critique of institutions of knowledge.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46027077","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 : 2022-09-02DOI: 10.1080/17540763.2022.2096676
Ceidra Moon Murphy
Prompted by an encounter with an archive of microscopic scans produced by my grandfather in 1976, this paper analyses the potential of disintegrative photographic processes, which deliberately set out to interfere with, subvert and sabotage the original images, to make visible the fragmented state of our memory. Interrogating the work of Stephen Gill and Daisuke Yokota in tandem with theories surrounding the nature of memory and its relationship with photography, I suggest that through the acceptance of the photograph’s own decay and degradation, photography may more accurately depict the process of recollection than the recollection itself. With particular reference to cultural geographer, Caitlin DeSilvey, who disassociates decomposition from loss, this paper establishes the image’s disintegration as generative. It is within such practices, which are open to, and encouraging of, an entanglement with “other than human agencies” and time passing, that photographs depict a reality; the reality of how memories reside in our minds and are brought back into consciousness.
{"title":"On the ruined image: questioning the materiality of the photograph and its role in depicting the process of recollection","authors":"Ceidra Moon Murphy","doi":"10.1080/17540763.2022.2096676","DOIUrl":"https://doi.org/10.1080/17540763.2022.2096676","url":null,"abstract":"Prompted by an encounter with an archive of microscopic scans produced by my grandfather in 1976, this paper analyses the potential of disintegrative photographic processes, which deliberately set out to interfere with, subvert and sabotage the original images, to make visible the fragmented state of our memory. Interrogating the work of Stephen Gill and Daisuke Yokota in tandem with theories surrounding the nature of memory and its relationship with photography, I suggest that through the acceptance of the photograph’s own decay and degradation, photography may more accurately depict the process of recollection than the recollection itself. With particular reference to cultural geographer, Caitlin DeSilvey, who disassociates decomposition from loss, this paper establishes the image’s disintegration as generative. It is within such practices, which are open to, and encouraging of, an entanglement with “other than human agencies” and time passing, that photographs depict a reality; the reality of how memories reside in our minds and are brought back into consciousness.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48643264","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 : 2022-09-02DOI: 10.1080/17540763.2022.2108886
Zeynep Devrim Gürsel
Tatos Cartozian was naturalized in Portland, Oregon in May 1923, a decision that was immediately challenged on racial grounds. This article follows the Cartozian family - from their sitting for an Ottoman expatriation portrait to exit the Ottoman empire in 1906 to their deft use of advertising and portrait photography in the United States in order to rethink the politics of visibility and legal belonging. As several Asian groups were deemed ineligible for citizenship on account of not being ”white,” the very grounds on which ”whiteness” was to be determined - whether scientific expertise or assumed common knowledge - was continually shifting. In order to become US citizens, the Cartozians had to exit the category of “Asiatic” and join the ranks of the unmarked citizenry in the United States. Counterintuitively, they managed to do so while advertising their family business frequently and boldly as ”America’s Largest Oriental Rug Organization.”
{"title":"Classifying the Cartozians: rethinking the politics of visibility alongside Ottoman subjecthood and American citizenship","authors":"Zeynep Devrim Gürsel","doi":"10.1080/17540763.2022.2108886","DOIUrl":"https://doi.org/10.1080/17540763.2022.2108886","url":null,"abstract":"Tatos Cartozian was naturalized in Portland, Oregon in May 1923, a decision that was immediately challenged on racial grounds. This article follows the Cartozian family - from their sitting for an Ottoman expatriation portrait to exit the Ottoman empire in 1906 to their deft use of advertising and portrait photography in the United States in order to rethink the politics of visibility and legal belonging. As several Asian groups were deemed ineligible for citizenship on account of not being ”white,” the very grounds on which ”whiteness” was to be determined - whether scientific expertise or assumed common knowledge - was continually shifting. In order to become US citizens, the Cartozians had to exit the category of “Asiatic” and join the ranks of the unmarked citizenry in the United States. Counterintuitively, they managed to do so while advertising their family business frequently and boldly as ”America’s Largest Oriental Rug Organization.”","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60302417","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 : 2022-05-04DOI: 10.1080/17540763.2022.2060293
I. Baird
Recent work in the study of photographic technology and the UK photographic industry has touched upon national distribution networks in addressing relationships between manufacturing and retail. Facilitating these networks was a small number of specialised commercial travellers. As a case study toward understanding these individuals, it is discussed here how George Jobson, with an early career as a typical photographer’s assistant of the Victorian era, went on to develop two additional careers as an inventor and as a commercial traveller specialising in photographic equipment and supplies. Some of Jobson’s forgotten work as a professional photographer is also identified and contextualised by drawing on a large number of primary sources. It is discovered among other findings that he worked in the US for the prominent Syracuse NY photographer Philip S. Ryder. Jobson’s subsequent contributions to photographic technology are discussed and contextualised. While the historiographical approach applied is individual, personal (familial), chronological, and empirical, I suggest that this study can be viewed as an indicator of the strengths and weaknesses of an interdisciplinary (photographic, patent-based, and industrial) approach as a means of understanding figures like Jobson, for whom photographic, archival and other records are scarce and fragmented.
{"title":"Portrait of a commercial traveller (photographic): George Jobson (1862–1925)","authors":"I. Baird","doi":"10.1080/17540763.2022.2060293","DOIUrl":"https://doi.org/10.1080/17540763.2022.2060293","url":null,"abstract":"Recent work in the study of photographic technology and the UK photographic industry has touched upon national distribution networks in addressing relationships between manufacturing and retail. Facilitating these networks was a small number of specialised commercial travellers. As a case study toward understanding these individuals, it is discussed here how George Jobson, with an early career as a typical photographer’s assistant of the Victorian era, went on to develop two additional careers as an inventor and as a commercial traveller specialising in photographic equipment and supplies. Some of Jobson’s forgotten work as a professional photographer is also identified and contextualised by drawing on a large number of primary sources. It is discovered among other findings that he worked in the US for the prominent Syracuse NY photographer Philip S. Ryder. Jobson’s subsequent contributions to photographic technology are discussed and contextualised. While the historiographical approach applied is individual, personal (familial), chronological, and empirical, I suggest that this study can be viewed as an indicator of the strengths and weaknesses of an interdisciplinary (photographic, patent-based, and industrial) approach as a means of understanding figures like Jobson, for whom photographic, archival and other records are scarce and fragmented.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47270010","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 : 2022-05-04DOI: 10.1080/17540763.2022.2060291
Aténé Mendelyté
Aida Chehrehgosha’s award-winning photography series To Mom, Dad and My Two Brothers (2008) in which the artist controversially stages the death of her abusive mother and father is examined in this essay as exemplifying a form of screen memories — a conscious psychodynamic strategy, introduced by Sigmund Freud, employed here to both expose and heal traumatic experiences. Challenging the dominant views in trauma theory and psychoanalysis regarding the role of visuality vis-à-vis narrativization, I claim that in Chehrehgosha’s series the visual works both to indicate the trauma as well as to point to its overdetermined, complex nature. Moreover, the photographs are revealed to be palimpsestic and hybrid in their implicit photographic gaze, blurring the line between scientific and aesthetic uses of photography, legal and artistic discourses, fundamentally questioning the experience of being a victim and a criminal. As such, the artwork is understood as a unique and complex photographic way to represent and address painful experiences and mixed affects — a palimpsestic approach to screening trauma.
艾达·切赫戈沙（Aida Chehrehgosha）的获奖摄影系列《致妈妈、爸爸和我的两个兄弟》（To Mom，Dad and My Two Brothers，2008）中，这位艺术家有争议地讲述了虐待她的母亲和父亲的死亡，这篇文章将其视为一种屏幕记忆的典范——西格蒙德·弗洛伊德（Sigmund Freud）引入的一种有意识的心理动力学策略，在这里用来揭露和治愈创伤经历。我对创伤理论和精神分析中关于视觉相对于叙事的作用的主流观点提出了质疑，我声称在切赫戈沙的系列作品中，视觉作品既表明了创伤，也指出了其过度确定的复杂性质。此外，这些照片在其隐含的摄影凝视中被揭示为重写和混合，模糊了摄影的科学和美学用途、法律和艺术话语之间的界限，从根本上质疑受害者和罪犯的体验。因此，这件艺术品被理解为一种独特而复杂的摄影方式，用来表现和处理痛苦的经历和混合的影响——一种筛查创伤的重写方法。
{"title":"Creative and crime scene photography: staged patricide and matricide as screen memories in Aida Chehrehgosha’s To Mom, Dad and My Two Brothers","authors":"Aténé Mendelyté","doi":"10.1080/17540763.2022.2060291","DOIUrl":"https://doi.org/10.1080/17540763.2022.2060291","url":null,"abstract":"Aida Chehrehgosha’s award-winning photography series To Mom, Dad and My Two Brothers (2008) in which the artist controversially stages the death of her abusive mother and father is examined in this essay as exemplifying a form of screen memories — a conscious psychodynamic strategy, introduced by Sigmund Freud, employed here to both expose and heal traumatic experiences. Challenging the dominant views in trauma theory and psychoanalysis regarding the role of visuality vis-à-vis narrativization, I claim that in Chehrehgosha’s series the visual works both to indicate the trauma as well as to point to its overdetermined, complex nature. Moreover, the photographs are revealed to be palimpsestic and hybrid in their implicit photographic gaze, blurring the line between scientific and aesthetic uses of photography, legal and artistic discourses, fundamentally questioning the experience of being a victim and a criminal. As such, the artwork is understood as a unique and complex photographic way to represent and address painful experiences and mixed affects — a palimpsestic approach to screening trauma.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43024326","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 : 2022-05-04DOI: 10.1080/17540763.2022.2060290
N. Dietschy
Penelope Umbrico’s series entitled Everyone’s Photos Any License (2015-) gathers photographs of the full moon that she selected from among the millions of similar images of the theme on the image-sharing website Flickr. In this paper, I study Umbrico’s gesture, drawing from the flow of online digital images to give shape to often monumental photographic installations, using photographs of the moon taken by others. Her project is inscribed in an image ecology that defends a recycling approach in the context of the overwhelming available images online. I argue that if Umbrico’s series takes part in contemporary practices, it also refers to the history of photography and its tight links with astronomy. Drawing on the history of the photographs of the moon in the nineteenth century to the abundance of digital photographs today, I attempt to show that Umbrico’s series both thematizes the technical challenges of photographing the moon and the ongoing fascination it evokes, in a time of space tourism projects. I argue that the artist’s act of borrowing people’s images of the moon mirrors our possessive relationship with images in the digital age and thus questions the notions of authorship and of uniqueness in today’s flow of images.
{"title":"Penelope Umbrico and Flickr: from Niépce to the moon and back","authors":"N. Dietschy","doi":"10.1080/17540763.2022.2060290","DOIUrl":"https://doi.org/10.1080/17540763.2022.2060290","url":null,"abstract":"Penelope Umbrico’s series entitled Everyone’s Photos Any License (2015-) gathers photographs of the full moon that she selected from among the millions of similar images of the theme on the image-sharing website Flickr. In this paper, I study Umbrico’s gesture, drawing from the flow of online digital images to give shape to often monumental photographic installations, using photographs of the moon taken by others. Her project is inscribed in an image ecology that defends a recycling approach in the context of the overwhelming available images online. I argue that if Umbrico’s series takes part in contemporary practices, it also refers to the history of photography and its tight links with astronomy. Drawing on the history of the photographs of the moon in the nineteenth century to the abundance of digital photographs today, I attempt to show that Umbrico’s series both thematizes the technical challenges of photographing the moon and the ongoing fascination it evokes, in a time of space tourism projects. I argue that the artist’s act of borrowing people’s images of the moon mirrors our possessive relationship with images in the digital age and thus questions the notions of authorship and of uniqueness in today’s flow of images.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42705822","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 : 2022-05-04DOI: 10.1080/17540763.2022.2060292
S. Hobson
In a time of worldwide viral pandemic, the work of the American photographer Diane Arbus (1923–71) is pertinent for its ability to remind us that what we think is normal is not normal, that psychological darkness is part of the life balance, and that while close contact can be pleasurable, it can also be extremely uncomfortable, if not fearful. The essay prioritizes the audience’s psychological position in the reading of Arbus’s Untitled photographs made between 1969 and 1971, through using Jacques Lacan’s concept of extimacy. The Untitled work seems to embody Lacan’s concept of extimacy, which provides new insights into the photographs and addresses the lesser-understood psychological rifts created by these iconoclastic works. These psychological perspectives also reflect the extimate nature of our relationships in the current pandemic and contest the centrality of Arbus’s biography in most critiques of her work.
{"title":"Social Distance: Intimacy, the Uncanny, and Extimacy in the Photographs of Diane Arbus","authors":"S. Hobson","doi":"10.1080/17540763.2022.2060292","DOIUrl":"https://doi.org/10.1080/17540763.2022.2060292","url":null,"abstract":"In a time of worldwide viral pandemic, the work of the American photographer Diane Arbus (1923–71) is pertinent for its ability to remind us that what we think is normal is not normal, that psychological darkness is part of the life balance, and that while close contact can be pleasurable, it can also be extremely uncomfortable, if not fearful. The essay prioritizes the audience’s psychological position in the reading of Arbus’s Untitled photographs made between 1969 and 1971, through using Jacques Lacan’s concept of extimacy. The Untitled work seems to embody Lacan’s concept of extimacy, which provides new insights into the photographs and addresses the lesser-understood psychological rifts created by these iconoclastic works. These psychological perspectives also reflect the extimate nature of our relationships in the current pandemic and contest the centrality of Arbus’s biography in most critiques of her work.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41376971","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：