Pub Date : 2023-04-25DOI: 10.1080/17514517.2023.2194746
Published in Photography and Culture (Vol. 15, No. 4, 2022)
发表于《摄影与文化》(2022年第15卷第4期)
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Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2243730
Adam Brett
{"title":"From the Editors","authors":"Adam Brett","doi":"10.1080/17514517.2023.2243730","DOIUrl":"https://doi.org/10.1080/17514517.2023.2243730","url":null,"abstract":"","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135799623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2228149
Erina Duganne
{"title":"“¡No Nos Desapareceremos!”: Artists Call’s Visual Solidarity with Central America","authors":"Erina Duganne","doi":"10.1080/17514517.2023.2228149","DOIUrl":"https://doi.org/10.1080/17514517.2023.2228149","url":null,"abstract":"","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"16 1","pages":"59 - 62"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41877154","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2180175
Luqman Lee
Historical records indicate that, from as early as the 6th century, Chinese traders and Indian Brahmins were already settled in the Malay Peninsula (Lee 2018). Along with a large community of Arab traders since the 1100s, these communities have shaped a vibrant cultural cosmopolitanism in the peninsula that lasted till the nation’s independence in 1957. While many practices of this historical cultural cosmopolitanism have since evolved or ceased altogether in contemporary Malaysia, larger and more popular cultural expressions are still being articulated in new ways and forms (Keoy et al. 2022a, 2022b; Lee 2019, 2022). One of these expressions is the Malaysian Chinese, Nine Emperor Gods, Taoist festival. Like many traditional religious beliefs, there are multiple versions of historical accounts relating to the identities of the Nine Emperor Gods prior to their canonization as deities. There are also a comparable number of differing accounts about the start of this religious movement (Cheu 1996, 51-55). One popular account tells of nine brothers from a fishing village in Fujian Province who helped the last prince of the Ming dynasty in his escape to Thailand. They arrived in Songkhla, navigating by the nine northern stars. Shortly after their arrival, they disappeared together with the nine stars. In their place, nine censers – thought to be the manifestations of the nine brothers – were found floating on the sea near Songkhla. It is believed that though their spirits ascended to the southern heavens, they return to visit the Chinese regional community during a yearly tour of the South Seas. This account explains why the festival is observed by devotees in Thailand, Singapore, and Malaysia, and provides the reason for performing the welcoming ritual at a waterfront (Cheu 1996, p. 54). The festival is celebrated from the first to the ninth day of the ninth lunar month every year and begins with an Amoy opera (in the Fujian, Guangdong operatic tradition) that denotes the start of the Taoist rituals that would be held in celebration of the nine deities. A street procession that comprises devotees carrying symbolic palanquins and prayer statues, a Chinese musical ‘percussion’ troupe, and sword-wielding as well as skewer-bearing spirit mediums, will make its way from the devotees’ temple to a nearby waterfront at the appointed time. With the welcoming ritual, the spirit mediums invite the nine deities to return with them to the temple where they will be entertained (by the percussion music and the Amoy opera, among others) and worshiped for the nine days. The
{"title":"Imagining the Divine","authors":"Luqman Lee","doi":"10.1080/17514517.2023.2180175","DOIUrl":"https://doi.org/10.1080/17514517.2023.2180175","url":null,"abstract":"Historical records indicate that, from as early as the 6th century, Chinese traders and Indian Brahmins were already settled in the Malay Peninsula (Lee 2018). Along with a large community of Arab traders since the 1100s, these communities have shaped a vibrant cultural cosmopolitanism in the peninsula that lasted till the nation’s independence in 1957. While many practices of this historical cultural cosmopolitanism have since evolved or ceased altogether in contemporary Malaysia, larger and more popular cultural expressions are still being articulated in new ways and forms (Keoy et al. 2022a, 2022b; Lee 2019, 2022). One of these expressions is the Malaysian Chinese, Nine Emperor Gods, Taoist festival. Like many traditional religious beliefs, there are multiple versions of historical accounts relating to the identities of the Nine Emperor Gods prior to their canonization as deities. There are also a comparable number of differing accounts about the start of this religious movement (Cheu 1996, 51-55). One popular account tells of nine brothers from a fishing village in Fujian Province who helped the last prince of the Ming dynasty in his escape to Thailand. They arrived in Songkhla, navigating by the nine northern stars. Shortly after their arrival, they disappeared together with the nine stars. In their place, nine censers – thought to be the manifestations of the nine brothers – were found floating on the sea near Songkhla. It is believed that though their spirits ascended to the southern heavens, they return to visit the Chinese regional community during a yearly tour of the South Seas. This account explains why the festival is observed by devotees in Thailand, Singapore, and Malaysia, and provides the reason for performing the welcoming ritual at a waterfront (Cheu 1996, p. 54). The festival is celebrated from the first to the ninth day of the ninth lunar month every year and begins with an Amoy opera (in the Fujian, Guangdong operatic tradition) that denotes the start of the Taoist rituals that would be held in celebration of the nine deities. A street procession that comprises devotees carrying symbolic palanquins and prayer statues, a Chinese musical ‘percussion’ troupe, and sword-wielding as well as skewer-bearing spirit mediums, will make its way from the devotees’ temple to a nearby waterfront at the appointed time. With the welcoming ritual, the spirit mediums invite the nine deities to return with them to the temple where they will be entertained (by the percussion music and the Amoy opera, among others) and worshiped for the nine days. The","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"16 1","pages":"71 - 88"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47919758","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2228082
Siobhan Angus
The hydraulic mining pioneered by The North Bloomfield Mining & Gravel Co at Malakoff Diggins, California was environmentally devastating. So much so that in 1878, farmers downstream mobilized. Organized under the The Anti-Debris Association, they sued The North Bloomfield Mining & Gravel Co. for damaging their farms and livelihood. To provide evidence of the debris and flooding, they hired John A. Todd to photograph the environmental impacts of hydraulic blasting. Todd’s photographs were submitted as evidence in the court case. The decision in Edward Woodruff vs. North Bloomfield [1884] determined that the mine should be shut down, resulting in the first environmental legal decision issued in the United States. In Photography and Environmental Activism: Visualising the Struggle Against Industrial Pollution, Conohar Scott argues that the deployment of Todd’s photographs in EdwardWoodruff vs. North Bloomfield reflects the emergence of environmentally activist photography. Scott does not suggest the photographs were pivotal to the decision—they augmented 200 witness testimonials and 200,000 documents. The value of the images as evidence, though, was rooted in the perceived indexical nature of photography. Formally, the images draw on pictorial framing devices, but critically, for Scott, the images were annotated with “ascriptions of blame” (41). Textual descriptions aligned with witness testimony and moved the photographs beyond mere illustration. Scott’s analysis of Todd’s little-known photographs nuances our understanding of photography’s role in the context of mining at Malakoff Diggins. Carleton Watkins documented the mining operation a decade before but rendered mining aesthetic through skillful framing, suitable for pictures commissioned by North Bloomfield to encourage capital investment. Photography thus “cut both ways”; still, Scott argues that Todd’s case study reveals that “an alternate history of the medium exists in
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Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2223026
S. Willcock
As recounted by Batchen, in a paper on photographic chemistry published in the proceedings of the Royal Society of London on 20 February 1840, John Herschel attempted to ‘avoid much circumlocution’ in the description of photography by introducing ‘the terms positive and negative, to express respectively, pictures in which lights and shades are as in nature, or as in the original model, and in which they are the opposite, i.e. light representing shade, and shade light’ (17). The terminology contained an implicit hierarchy that has continued to haunt discussions about the medium. Negatives are seldom written about in detail by historians and are illustrated only rarely within the historiography of photography, a literature which reflexively prioritises the representational clarity of the positive print. Batchen’s latest book brings the negative into the frame and asks what shadow it might cast upon conventional narratives of the photographic image. Negative/Positive: A History of Photography opens with a brief analysis of Lennart Nilsson’s 1948 photograph for Lifemagazine showing a fellow photographer, Mayola Amici, at work in the darkroom of his studio in Stanleyville (Kisangani), part of what was then the Belgian colony of Congo. The Congolese photographer gazes intently at his wristwatch while a negative – a portrait – develops in his other hand. Dramatising the time of photographic production, the scene constitutes what W. J. T. Mitchell might term a ‘metapicture’, prompting viewers to reflect on the nature of images and image-making (Mitchell 2013). For Batchen, it exposes numerous aspects of photography that are too often obscured: the materiality and temporality of darkroom practices; the authorial interventions that are necessary to produce photographs; and the visual politics of the negative/positive process, historically conceived in terms of a racialised metaphysics of darkness and light (‘fair women are transformed into negresses’, as Herschel put it) (7). The rest of the book – a well-illustrated publication with 94 colour figures– is an attempt to illuminate this ‘repressed, dark side’ (3) of photographic history. There have recently been some scattered engagements in scholarship with the politics and aesthetics of the negative, in particular with regard to photography and race (Grigsby 2011; Campt 2012, 117–
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Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2236331
Carol L. Magee
Abstract This essay examines Michael Tsegaye’s series Future Memories and Chasms of the Soul, underscoring not just the socio-political context of the work, but the possibilities of photography itself. Addressing the displacement occurring when neighborhoods and cemeteries were razed to accommodate urban redevelopment in Addis Ababa, Ethiopia, the photographs tell the stories of these events, making present absences; in doing so, they open up present moments. Visually analyzing the photographs and drawing on theories of presence, place, absence, and memorialization, I center my argument on the temporal possibilities of the photographic moment. To argue this, I offer realignments in how presence and the present might be conceptualized in photography to enable a “being present”. Such reorientation is dependent upon the relation of the photographer to the subject matter and the viewer to the photograph, as well as the photograph’s relation to time.
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Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2228586
B. Rangiwai, D. Enari
Abstract This paper explores the differences between Māori and Samoan approaches to post-mortem photography. This paper will show that Māori consider the notion of post-mortem photography as offensive, while for some Samoans, post-mortem photography is acceptable. This article emerges due to the scarcity of research on post-mortem photography in Indigenous communities. We analyze the underlying beliefs of these communities in relation to post-mortem photography. As two researchers from these communities, we call upon our ancestral and academic knowledge to tell this story.
{"title":"Indigenous Cultures and Post-Mortem Photography","authors":"B. Rangiwai, D. Enari","doi":"10.1080/17514517.2023.2228586","DOIUrl":"https://doi.org/10.1080/17514517.2023.2228586","url":null,"abstract":"Abstract This paper explores the differences between Māori and Samoan approaches to post-mortem photography. This paper will show that Māori consider the notion of post-mortem photography as offensive, while for some Samoans, post-mortem photography is acceptable. This article emerges due to the scarcity of research on post-mortem photography in Indigenous communities. We analyze the underlying beliefs of these communities in relation to post-mortem photography. As two researchers from these communities, we call upon our ancestral and academic knowledge to tell this story.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"16 1","pages":"51 - 57"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44991544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2233181
Xuan Zhang, Shaohan Wang
Abstract To support the Silk Roads Transboundary Serial Nomination Project, the International Conservation Center-Xi’an developed the Silk Roads Archive and Information Management System (AIMS), with a primary function of exploring SR’s transcultural narrative. Focusing on the historical and contemporary photographs documented in AIMS, this essay introduces the different types of photographs from different times to demonstrate Silk Road’s narrative.
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Pub Date : 2023-01-02DOI: 10.1080/17514517.2023.2181803
Lauren Walden
Abstract Rather than merely draw inspiration from Surrealism, I argue that Mexican photographer Lola Álvarez Bravo actually subverts some of its founding tenets and iconography. Though archived letters documenting the turbulent relationship with her former husband Manuel Álvarez Bravo, I contend that empirical experience incited her to deconstruct the male anatomy similarly to the surrealist treatment of the female body, photographically subverting surrealist iconography from within. I consider how Lola’s staunchly Catholic religious beliefs impacted upon her feminist stance and how she navigated the female iconography of the Catholic faith in a Surrealist manner. Subsequently, I chart how Lola’s photography reversed stereotypical gender roles in a post-revolutionary society, repurposing the surrealist penchant for the mannequin in the service of feminism. Lola’s practice corresponds to a form of intersectional feminism, whereby her own battles concurrently engender sympathy for other marginalized communities such as the poor and the indigenous. Nevertheless, due to her reliance upon government commissions, her photographic repertoire does sometimes stray into propaganda despite her ardent denials thereof; Manuel clearly had more artistic freedom compared to Lola. Lola’s subversion of surrealism is underpinned by the dichotomy of the generalized and concrete other, elaborated by feminist-cosmopolitan philosopher Seyla Benhabib.
{"title":"Lola Álvarez Bravo: Subverting Surrealist Photography in Mexico","authors":"Lauren Walden","doi":"10.1080/17514517.2023.2181803","DOIUrl":"https://doi.org/10.1080/17514517.2023.2181803","url":null,"abstract":"Abstract Rather than merely draw inspiration from Surrealism, I argue that Mexican photographer Lola Álvarez Bravo actually subverts some of its founding tenets and iconography. Though archived letters documenting the turbulent relationship with her former husband Manuel Álvarez Bravo, I contend that empirical experience incited her to deconstruct the male anatomy similarly to the surrealist treatment of the female body, photographically subverting surrealist iconography from within. I consider how Lola’s staunchly Catholic religious beliefs impacted upon her feminist stance and how she navigated the female iconography of the Catholic faith in a Surrealist manner. Subsequently, I chart how Lola’s photography reversed stereotypical gender roles in a post-revolutionary society, repurposing the surrealist penchant for the mannequin in the service of feminism. Lola’s practice corresponds to a form of intersectional feminism, whereby her own battles concurrently engender sympathy for other marginalized communities such as the poor and the indigenous. Nevertheless, due to her reliance upon government commissions, her photographic repertoire does sometimes stray into propaganda despite her ardent denials thereof; Manuel clearly had more artistic freedom compared to Lola. Lola’s subversion of surrealism is underpinned by the dichotomy of the generalized and concrete other, elaborated by feminist-cosmopolitan philosopher Seyla Benhabib.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"16 1","pages":"3 - 27"},"PeriodicalIF":0.3,"publicationDate":"2023-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48860204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"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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