Suchergebnisse

Photo credit: Hayat Karallouh

Collecting Photography (by Artem Loginov) makes differentiation of key concepts and rules of the art-market of photography. The article's aim is to show several limitations which form specific features of relations between authors and buyers of photographic art pieces. The article analyzes in brief some criteria which have an influence on price formation in the art-market of photography.

This special issue of al-raida on Women and Photography addresses photography as a medium that challenges gender roles, positions, and attributes as seen in the mainstream media. It includes papers by contributors who examine the practice of women photographers in the Middle East as well as the different ways women are represented in photographs from a variety of perspectives that range from critical art disciplines to the social sciences.

Abstract
In 1968, after several disappointing years in Europe, where he wanted to trace his white aristocratic family tree, Frank Walter returns to his native Antigua and opens a photo studio. He didn't anticipate being seen in Europe as only Black, rather than mixed-race, and contemplates how to materialize this complex history. The studio was key for the one thousand two hundred fifty-plus miniature paintings he made before his death: he painted many of them on the back of studio photographs. To behold the relationship between the two sides of these images, one first has to suspend the knowledge claims and self-evident gestures that have relegated the photographic versos to static objects. One has to take hold of them — tilt, turn, and flip them. This article explores the overlooked role of contingency within the history of photography to reposition Walter's studio photographs/paintings as flip-objects. They do not just materially hold together aesthetic forms that are often epistemologically opposed to one another, inscribing studio photography, ephemera, blackness, and the Caribbean into Romantic painting, extant materials, whiteness, and Europe, for example. Rather, these works initiate a demand for reorientation, postulating that these different modes and media of visual representation can only be seen through one another, like a thaumatropic image.

Surrealistic art photography reveals eroticism and nudity as something that both fascinates and agitates, compelling the audience to pay attention, willingly or reluctantly. Undoubtedly, for surrealistic artists the sphere of fantasy and sexual sensation emerge as a source of pleasure and aesthetic sensation. Surrealistic fantasies, dreams and human sexuality have merged with elements of art and porn culture to create hybrid visual forms and postmodern fashion photography is certainly among them. Unlike surrealistic art photography that serves as an emancipatory tactic or as a transgressive act of provoking the public, postmodern fashion photography utilizes eroticism as an expression or vestige of perverse enjoyment. Perversion in the eroticized postmodern context holds somewhat particular meaning. Desire is operationalized without restrictions, appears everywhere while losing its imaginary. Hence, visual seduction is a never-ending game between seducers and the seduced. In light of a growing interest in understanding photography, and visual culture, this article examines how eroticism is constructed through surrealistic photographed content, and it explores the implication of this for further study of postmodern fashion photography. Conceptually, and methodologically, this article draws on semiotics (Roland Barthes), and discursive analysis, including psychoanalytic (Sigmund Freud), and representational theory and practice (Laura Mulvey, Stuart Hall and Jean Baudrillard).