Pub Date : 2022-01-02DOI: 10.1080/17514517.2022.2039501
N. Mangalanayagam
Swedish–Danish border, 2009 Shortly before my father passed away, my mother and I took him on a car journey from Sweden to Denmark. We had a nice day in an art gallery by the sea, looked at big houses in the countryside and had a Danish lunch. Approaching the bridge on our way back, going through customs we were waved over to stop. I was driving. My father sat next to me in the front seat. My mother sat behind me. I rolled down the window to hear the policeman. He looked at me, looked at my father and lastly looked at my mother in the back seat. In Swedish, he asked her where we had been, where we were going, what our nationality was. The policeman addressed my mother behind me. It was an awkward conversation. My father sat silent, looking down into his lap, until we were allowed to carry on. I was furious, but knew I would upset my father if I made a scene. For the remaining car journey, I wondered what these interactions had done to the relationship between my parents, my Tamil father and my Danish mother.
{"title":"(De)Colonial Positioning","authors":"N. Mangalanayagam","doi":"10.1080/17514517.2022.2039501","DOIUrl":"https://doi.org/10.1080/17514517.2022.2039501","url":null,"abstract":"Swedish–Danish border, 2009 Shortly before my father passed away, my mother and I took him on a car journey from Sweden to Denmark. We had a nice day in an art gallery by the sea, looked at big houses in the countryside and had a Danish lunch. Approaching the bridge on our way back, going through customs we were waved over to stop. I was driving. My father sat next to me in the front seat. My mother sat behind me. I rolled down the window to hear the policeman. He looked at me, looked at my father and lastly looked at my mother in the back seat. In Swedish, he asked her where we had been, where we were going, what our nationality was. The policeman addressed my mother behind me. It was an awkward conversation. My father sat silent, looking down into his lap, until we were allowed to carry on. I was furious, but knew I would upset my father if I made a scene. For the remaining car journey, I wondered what these interactions had done to the relationship between my parents, my Tamil father and my Danish mother.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"103 - 108"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44804045","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 : 2022-01-02DOI: 10.1080/17514517.2022.2059294
Yu Jiang, Daniel C. Blight
the for to the camera. complacency
对于相机。自满
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Pub Date : 2022-01-02DOI: 10.1080/17514517.2022.2035984
Kerstin Hacker
Abstract In 1986 Kenyan writer Ngũgĩ wa Thiong’o argued that ‘[t]he choice of language and the use to which language is put is central to a people’s definition of themselves’ (Ngũgĩ 1986:4). This article re-applies Ngũgĩ’s analysis to contemporary African photographic practice, since images are similarly central to people’s self-definition. Collaborating with the Zambian National Visual Arts Council, the practice-research project Stories of Kalingalinga developed a photographic workshop (2019) and exhibition (2020) to counteract Zambia’s lack of institutional engagement with photography. Focused on Kalingalinga, a high-density neighbourhood undergoing gentrification in Zambia’s capital Lusaka, the workshop provided space to experiment in decolonising creative practice through slow action research. As a photographer, animateur and curator from the global north, I present work by Zambian project participants Scotty Jongolo, Danny Chiyesu, Zenzele Chulu, Edith Chiliboy, Natalia Gonzalez Acosta, Margaret Malawo Mumba, Dennis Mubanga Kabwe, David Daut Makala, Muchemwa Sichone and Yande Yombwe. The article discusses the decolonisation of Zambian photography and the workshop’s deepening of my own decolonial photographic practice. I highlight the importance of empowering Zambian photographers through encouraging critically informed image-making in contemporary African photographic practice. African visual self-governance requires building supportive communities that embrace alternative and creative ways of knowledge creation.
{"title":"Us in Relation to the Universe—Collaborative North-South Photographic Practice Research","authors":"Kerstin Hacker","doi":"10.1080/17514517.2022.2035984","DOIUrl":"https://doi.org/10.1080/17514517.2022.2035984","url":null,"abstract":"Abstract In 1986 Kenyan writer Ngũgĩ wa Thiong’o argued that ‘[t]he choice of language and the use to which language is put is central to a people’s definition of themselves’ (Ngũgĩ 1986:4). This article re-applies Ngũgĩ’s analysis to contemporary African photographic practice, since images are similarly central to people’s self-definition. Collaborating with the Zambian National Visual Arts Council, the practice-research project Stories of Kalingalinga developed a photographic workshop (2019) and exhibition (2020) to counteract Zambia’s lack of institutional engagement with photography. Focused on Kalingalinga, a high-density neighbourhood undergoing gentrification in Zambia’s capital Lusaka, the workshop provided space to experiment in decolonising creative practice through slow action research. As a photographer, animateur and curator from the global north, I present work by Zambian project participants Scotty Jongolo, Danny Chiyesu, Zenzele Chulu, Edith Chiliboy, Natalia Gonzalez Acosta, Margaret Malawo Mumba, Dennis Mubanga Kabwe, David Daut Makala, Muchemwa Sichone and Yande Yombwe. The article discusses the decolonisation of Zambian photography and the workshop’s deepening of my own decolonial photographic practice. I highlight the importance of empowering Zambian photographers through encouraging critically informed image-making in contemporary African photographic practice. African visual self-governance requires building supportive communities that embrace alternative and creative ways of knowledge creation.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"33 - 57"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43786250","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 : 2022-01-02DOI: 10.1080/17514517.2022.2040166
P. Nayar
Abstract This essay examines several photographs taken during the second wave of the COVID-19 pandemic in India in 2021. It argues that the photographs capture an “atmo-terror” (terror from the air). The paper records the evolution of atmo-technics: alongside the dehumanization of the patient/sufferer, acts of resilience were reported and recorded. A “civil contract” of photography may be inferred from them.
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Pub Date : 2022-01-02DOI: 10.1080/17514517.2022.2035985
Gabrielle Moser
Abstract Photography was an instrumental tool in Canada’s Indian Residential School system throughout the first half of the twentieth century, used by the government to promote, obscure, reveal, and conceal the violence directed at Indigenous children in state care. Though these static images—designed to contain their children subjects—failed to rouse civic intervention at the time, they are being revisited in the present as documents of a settler colonial past that needs to be redressed. Reading several of these archival school photographs against contemporary images of the recent toppling of a statue of Egerton Ryerson, one of the architects of the Indian Residential School system, this article considers the reparative work that photographs can perform in the civic imaginary. Drawing on the work of Ariella Aïsha Azoulay, I propose that reparation is an ongoing and unfinished process that mirrors the open and contingent nature of the event of photography: one that is not ‘concluded’ in photographic capture.
{"title":"When Photographs Fail, When Monuments Fall: Photography and Reparations in Canada","authors":"Gabrielle Moser","doi":"10.1080/17514517.2022.2035985","DOIUrl":"https://doi.org/10.1080/17514517.2022.2035985","url":null,"abstract":"Abstract Photography was an instrumental tool in Canada’s Indian Residential School system throughout the first half of the twentieth century, used by the government to promote, obscure, reveal, and conceal the violence directed at Indigenous children in state care. Though these static images—designed to contain their children subjects—failed to rouse civic intervention at the time, they are being revisited in the present as documents of a settler colonial past that needs to be redressed. Reading several of these archival school photographs against contemporary images of the recent toppling of a statue of Egerton Ryerson, one of the architects of the Indian Residential School system, this article considers the reparative work that photographs can perform in the civic imaginary. Drawing on the work of Ariella Aïsha Azoulay, I propose that reparation is an ongoing and unfinished process that mirrors the open and contingent nature of the event of photography: one that is not ‘concluded’ in photographic capture.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"1 - 17"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43674073","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 : 2022-01-02DOI: 10.1080/17514517.2022.2054189
J. Tran
Abstract Diversity – in the nominal sense of widening access to education beyond majority group interests – is a stated objective for many institutions of higher education worldwide. However, different narratives of national and institutional identity play a role in how programmes of diversity are conceived. In recent university reforms initiated in Japan by MEXT (Japanese Ministry of Education, Culture, Sports, Science and Technology), the drive to internationalize universities through increasing the number of foreign students, faculty and collaborations runs alongside an historical and reactionary othering of rational and critical thinking as “western learning.” By contrast, for universities in the “west” the pursuit of diversity is considered an affirmation of the university as a site of civil and rational discourse, in which the welcoming of different voices is considered in terms of being both a moral imperative and institutional asset. Using Bill Readings’ 1996 critique of the modern university as a bureaucratic corporation, “The University in Ruins” as a reference point, the dissonance between the policy goal of diversity and what may actually happen in a classroom is discussed here from personal experience of teaching the history of photography, and other subjects, in Japanese Universities. Modes of classroom interaction and the role of the teacher, beyond culture-specific models, are interrogated, and finally discussed in relation to a holistic view of education espoused in the teaching methodologies of Charles A. Curran and Caleb Gattegno.
{"title":"Get in: Rhetoric and Realities of Diversity in the Global University","authors":"J. Tran","doi":"10.1080/17514517.2022.2054189","DOIUrl":"https://doi.org/10.1080/17514517.2022.2054189","url":null,"abstract":"Abstract Diversity – in the nominal sense of widening access to education beyond majority group interests – is a stated objective for many institutions of higher education worldwide. However, different narratives of national and institutional identity play a role in how programmes of diversity are conceived. In recent university reforms initiated in Japan by MEXT (Japanese Ministry of Education, Culture, Sports, Science and Technology), the drive to internationalize universities through increasing the number of foreign students, faculty and collaborations runs alongside an historical and reactionary othering of rational and critical thinking as “western learning.” By contrast, for universities in the “west” the pursuit of diversity is considered an affirmation of the university as a site of civil and rational discourse, in which the welcoming of different voices is considered in terms of being both a moral imperative and institutional asset. Using Bill Readings’ 1996 critique of the modern university as a bureaucratic corporation, “The University in Ruins” as a reference point, the dissonance between the policy goal of diversity and what may actually happen in a classroom is discussed here from personal experience of teaching the history of photography, and other subjects, in Japanese Universities. Modes of classroom interaction and the role of the teacher, beyond culture-specific models, are interrogated, and finally discussed in relation to a holistic view of education espoused in the teaching methodologies of Charles A. Curran and Caleb Gattegno.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"15 1","pages":"19 - 32"},"PeriodicalIF":0.3,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46011468","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 : 2022-01-02DOI: 10.1080/17514517.2022.2057089
B. Asante
exhibition A Series of Utterly Improbable, Yet Extraordinary Renditions at the Serpentine Gallery, I was invited to develop a workshop for educators exploring anti-racist pedagogic practi-ces. I drew on the archival nature of Jafa ’ s exhibition made up of images of black social life from historic and family photographs, images captured by photographers and contemporary images drawn from sources such as Instagram and YouTube to propose a mixtape methodology. I asked the group to consider: Why Black Lives Matter? How do we as educators develop discursive and creative opportunities to support the understanding of why Black Lives Matter? Key to this was the idea of developing Countless Ways of Knowing 1 and understanding, through working with images beyond representation, to develop narratives beyond the frame of any single image creating connections to explore other possible ways of understanding and thinking about race, racism, and the role of images as an emancipatory possibility.
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Pub Date : 2021-10-02DOI: 10.1080/17514517.2021.1993664
W. Arnold
I think that I cannot preserve my health and spirits unless I spend four hours a day at least – and it is commonly more than that – sauntering through the woods and over the hills and fields absolutely free from all worldly engagements. You may safely say a penny for your thoughts, or a thousand pounds. When sometimes I am reminded that the mechanics and shop-keepers stay in their shops not only all the forenoon, but all the afternoon too, sitting with crossed legs, so many of them – as if the legs were made to sit upon, and not to stand or walk upon – I think that they deserve some credit for not having all committed suicide long ago.
{"title":"Suburban Herbarium","authors":"W. Arnold","doi":"10.1080/17514517.2021.1993664","DOIUrl":"https://doi.org/10.1080/17514517.2021.1993664","url":null,"abstract":"I think that I cannot preserve my health and spirits unless I spend four hours a day at least – and it is commonly more than that – sauntering through the woods and over the hills and fields absolutely free from all worldly engagements. You may safely say a penny for your thoughts, or a thousand pounds. When sometimes I am reminded that the mechanics and shop-keepers stay in their shops not only all the forenoon, but all the afternoon too, sitting with crossed legs, so many of them – as if the legs were made to sit upon, and not to stand or walk upon – I think that they deserve some credit for not having all committed suicide long ago.","PeriodicalId":42826,"journal":{"name":"Photography and Culture","volume":"14 1","pages":"483 - 494"},"PeriodicalIF":0.3,"publicationDate":"2021-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44065641","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 : 2021-10-02DOI: 10.1080/17514517.2021.1964745
Sally E. McWilliams
Abstract Vietnamese diasporic artists who came to the U.S. post 1975 actively engage with the silences, losses, and distortions that fracture and fragment their families’ histories, memories, and images. My analysis argues that the photographic installation “The opposite of looking is not invisibility. The opposite of yellow is not gold” by Hương Ngô and Hồng-Ân Trương participates in this project of imaginative remembrance and reconstruction. I theorize how the installation produces a queer optics that unsettles our reliance on prescribed understandings of Vietnamese female refugees as compliant participants in the myth of the model Asian minority. This queer optics uses three techniques to literally and ideologically reframe Vietnamese diasporic female agency: deconstruction of family albums, juxtaposition of photos and text, and creation of a queer of color gaze of intimacy. This optics produces a countervisuality of affective knowledges about relationality and futurity, displacing normalized practices of looking with new interpretative possibilities.
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Pub Date : 2021-09-17DOI: 10.1080/17514517.2021.1882136
K. Schreiber
Abstract This article examines the color photographs that were taken by Bruce Jackson at prison farms throughout Texas and Arkansas between 1964 and 1979. It not only asks why Jackson’s photographs have been exclusively published and exhibited in black-and-white, but also explores what might be gained by seeing the prison farm in color. Extending from Sally Stein’s examination of the rhetorical meanings of monochrome and polychrome photography in the interwar context, this article argues that, due to the widespread recirculation of Farm Security Administration photography in public life during the 1960s and after, black-and-white documentary gained a newfound historical authenticity. As a result of their clear resonance with Depression-era photographs of manual, agricultural labor, Jackson’s photographs were drained of color in order to displace the institution onto a remote past. This article claims that, by coding the prison farm as both in and out of time, Jackson’s color photographs upend the way in which we have been made to see the prison farm and, in doing so, produce an alternative history of the 1960s and after––one that fully attends to the ongoing temporality of slavery and its afterlives.
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