Pub Date : 2021-05-04DOI: 10.1080/17540763.2021.1877792
Na’ama Klorman-Eraqi
Radical feminism and punk subculture were two communities in Britain in the 1970s which produced politically diverse cultural, visual, and photography practices. This paper explores, for the first time, the overlap between these two communities and how their political perspectives and enthralling disruptive visual strategies informed each other. I argue that punk, although resembling the dominant culture and other subcultures in their patriarchal aspects, provided a space for communicating feminist arguments and shared radical feminism’s disruptive strategies. My discussion examines punk artist Linder Sterling’s exploration of gender boundaries and sexuality in her feminist photomontages and her controversial punk performance. This argument is posited in relation to radical feminist street events, feminist photography, and punk aesthetics. Finally, I suggest that feminist and punk uses of photography, visual production, and performance were affective practices that engendered a political sense of community, identification, and mobilization.
{"title":"Radical feminism and punk: visual cultures of affect and disruption","authors":"Na’ama Klorman-Eraqi","doi":"10.1080/17540763.2021.1877792","DOIUrl":"https://doi.org/10.1080/17540763.2021.1877792","url":null,"abstract":"Radical feminism and punk subculture were two communities in Britain in the 1970s which produced politically diverse cultural, visual, and photography practices. This paper explores, for the first time, the overlap between these two communities and how their political perspectives and enthralling disruptive visual strategies informed each other. I argue that punk, although resembling the dominant culture and other subcultures in their patriarchal aspects, provided a space for communicating feminist arguments and shared radical feminism’s disruptive strategies. My discussion examines punk artist Linder Sterling’s exploration of gender boundaries and sexuality in her feminist photomontages and her controversial punk performance. This argument is posited in relation to radical feminist street events, feminist photography, and punk aesthetics. Finally, I suggest that feminist and punk uses of photography, visual production, and performance were affective practices that engendered a political sense of community, identification, and mobilization.","PeriodicalId":39970,"journal":{"name":"Photographies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17540763.2021.1877792","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47685107","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 : 2021-05-04DOI: 10.1080/17540763.2021.1877788
Doron Altaratz, P. Frosh
Thanks to the smartphone, photography has become pervasive in contemporary digital culture. Yet the smartphone’s very ‘smartness’ profoundly alters the relations of control between humans and technologies in image-production practices. Unlike dedicated cameras, smartphones use built-in sensors for small-scale positioning to ‘sense’ user’s bodily orientations and states of motion. Combined with photographic applications, this ‘sentience’ enables devices to direct user actions and to require user compliance in order to create an image. In this paper, we analyze image-production in three smartphone applications to chart a continuum between two techno-cultural poles. At one pole smartphone photography accommodates a range of human-technological interactions, including the development of new forms of play and experimentation. At the opposite pole, it executes algorithmically-choreographed sentient photography in which ultimate decisions are made by context-aware learning software, radically reconfiguring the distribution of agency between humans and technologies. The development of sentient photography, we conclude, represents the integration of the photographer’s body itself into platform control of image-production.
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Pub Date : 2021-05-04DOI: 10.1080/17540763.2021.1903532
Agnė Narušytė
Time is a problem that war photography has to solve. Photojournalists have to be ‘in the right place and at the right time’ if they want to capture military action. Yet the speed and the surprise built into the core of such events means that war is mostly documented post factum. Instead of picturing dramatic action, most photographs show how effectively time deletes the damage to war, how quickly the drama disperses in everyday life. The temporal parallax inherent in the medium is explored by photographers focusing on substantial traces of war left in architecture built to last in time. The essay discusses how the elided trauma characteristic of Lithuania, an Eastern European country, can be detected from the architecture of war presented in photographs. It focuses on the following series by three photographers: (1944–1991) by Indrė Šerpytytė (2009), Surveillance (2015–2018) by Valentyn Odnoviun and Back to Shul (2018) by Richard Schofield.
时间是战争摄影必须解决的问题。摄影记者如果想要捕捉军事行动，就必须“在正确的地点和正确的时间”。然而，这类事件的发生速度之快和令人惊讶之处，意味着战争大多是事后记录下来的。大多数照片不是描绘戏剧性的行动，而是展示时间如何有效地消除战争的破坏，戏剧如何迅速地分散在日常生活中。摄影师通过关注建筑中留下的大量战争痕迹，探索了这种媒介固有的时间视差。本文讨论了如何从照片中呈现的战争建筑中发现立陶宛这个东欧国家被忽略的创伤特征。它重点介绍了三位摄影师的以下系列:indrvilŠerpytytė(2009)的(1944-1991)，Valentyn Odnoviun的Surveillance(2015-2018)和Richard Schofield的Back to Shul(2018)。
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Pub Date : 2021-05-04DOI: 10.1080/17540763.2021.1877787
Cláudio Reis
Since 2014, photographer Stephen Shore has been exploring Instagram as a new body of work, having its own online portfolio entry next to iconic series as American Surfaces and Uncommon Places. Instead of joining contemporary debates concerning the crisis of representation implicit in the networked condition of the photographic image, Shore is keen to engage with Instagram through the lens of modernism, concentrating his attention on the visual characteristics intrinsic to photography as a medium, a reasoning previously encapsulated in the primer The Nature of Photographs. Building upon selected samples from Shore’s pre-digital archive in addition to his most recent series, Details, the research takes @stephen.shore as a significant case study to examine how Instagram affects the modernist emphasis on seeing photographically the ordinary, evaluating the contemporary relevance of Shore’s networked notational impulse when many Instagram users engage with photography to keep a quasi-diaristic practice. Looking at the traces of everyday life, envisaged for Instagram or the gallery wall, the camera is but a tool for reflecting upon a concept Shore long borrowed from the great writer T. S. Eliot: the “objective correlative”, allowing for poetry to be found, and given visual structure.
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Pub Date : 2021-05-04DOI: 10.1080/17540763.2021.1877790
N. Matheson
This article analyses some of the important early work (ca. late 1960s-early 1970s) of the Japanese photographer Nakahira Takuma (1938–2015) in terms of the themes of materiality and cultural alienation, focusing on Nakahira’s links with radical European art and writing of the period. In particular, it explores the relationship with the work of the French writer J.M.G Le Clézio in early writings such as Le Procès-Verbal (1963), L’Extase matérielle (1967) and La Guerre (1970). Le Clézio includes a selection of his own photos as an appendix to La Guerre and the article also embraces an analysis of that imagery and its role in relation to the author’s association with the nouveau roman during this early, experimental phase of his career.
本文从物质性和文化异化的主题分析了日本摄影师中平拓沼（1938–2015）的一些重要早期作品（约20世纪60年代末至70年代初），重点探讨了中平与这一时期欧洲激进艺术和写作的联系。特别是，它探讨了法国作家J.M.G Le Clézio在早期作品中的关系，如《语言报》（1963年）、《灭绝》（1967年）和《La Guerre》（1970年）。Le Clézio收录了一组他自己的照片，作为La Guerre的附录，文章还分析了这些图像及其在作者职业生涯早期实验阶段与新罗马主义的联系中所起的作用。
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Pub Date : 2021-05-04DOI: 10.1080/17540763.2021.1877789
Brent Luvaas
Street photography, in the last few years, has seen a resurgence of popular interest. Digital cameras, online tutorials, and social media platforms like Instagram and Flickr have introduced the quasi-documentary genre to a new generation of photographers. But this street photography renaissance is not just a consequence of new digital technology; it is also a response to it. Street photography, the author argues, is about getting “out in the world” and directly engaging with others at a moment when more and more of our lives are spent in front of a screen. And yet, this getting closer to others is itself facilitated by a series of screens, whether a digital viewfinder, the LCD display on the back of the camera, or the laptop where photos are stored and edited. This essay explores the inherent contradictions that underlie much of contemporary street photographic practice. Street photography, the author concludes, is a fraught medium through which we negotiate distance from others in the digital age. As such, it is a potent metaphor for the intimate alienation that defines so much of our lives today.
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Pub Date : 2021-05-04DOI: 10.1080/17540763.2021.1877186
S. Dominici
This article investigates the role of the darkroom in the experiences of British amateur photographers who, between the 1880s and 1900s, chose to process their negatives themselves while travelling. It focuses, in particular, on the reasons underpinning the development of a network of facilities for changing and developing plates available to tourists, and on how photographers’ engagement with this infrastructure expanded its function in ways that implicitly challenged dominant approaches to both photography and travel. It does so by examining the darkroom, first, as an alternative tourist bureau that put travelling photographers in contact with local knowledge, and second, as the site of a material culture that empowered photographers. These experiences demonstrate that close to the heart of these practitioners was not simply photographic mobility but, most importantly, photographic autonomy.
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Pub Date : 2021-05-04DOI: 10.1080/17540763.2021.1877791
Alison V. Dean
This article considers how the relatively new genre of migrant photography, “the migrant selfie,” fits into the larger visual history of migrancy. From early UNHCR photography to contemporary representations of migration in the news and visual art, this paper traces the visual image of the migrant over time. It then draws on this history to contextualize selfies featured in Tomas van Houtryve’s (2016–2017) video installation, Traces of Exile.
本文探讨了相对较新的移民摄影流派“移民自拍”如何融入移民的更大视觉历史。从早期的难民署摄影到新闻和视觉艺术中对移民的当代表现，本文追溯了移民随时间的视觉形象。然后，它利用这段历史，将托马斯·范·胡特里夫（Tomas van Houtryve，2016-2017）的视频装置《流放的痕迹》中的自拍置于背景中。
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Pub Date : 2021-01-02DOI: 10.1080/17540763.2020.1847177
T. White
Drawing on field research conducted by Professor Brian McAdoo, an environmental scientist at Yale-NUS College and Tom White, a freelance visual journalist who also teaches part-time at Yale-NUS this paper will explore how methods can be developed for emerging interactive documentary forms might contribute to the ways in which communities increase resilience and reduce losses when meeting the challenge of natural disasters and human-made environmental risks including anthropogenic climate change.
{"title":"Interactive and Immersive Documentary Methods for Community Resilience & Disaster Reduction","authors":"T. White","doi":"10.1080/17540763.2020.1847177","DOIUrl":"https://doi.org/10.1080/17540763.2020.1847177","url":null,"abstract":"Drawing on field research conducted by Professor Brian McAdoo, an environmental scientist at Yale-NUS College and Tom White, a freelance visual journalist who also teaches part-time at Yale-NUS this paper will explore how methods can be developed for emerging interactive documentary forms might contribute to the ways in which communities increase resilience and reduce losses when meeting the challenge of natural disasters and human-made environmental risks including anthropogenic climate change.","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/10.1080/17540763.2020.1847177","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47002794","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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