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.
The use of photographs in museums can reveal how the perceived transparency of photography and the authority of the museum interact with the subjectivity and the political construction of historical narratives. This paper focuses on the medium of photography in five war-related museums in Cyprus and examines how it is used in the context of these museums as a means to construct strong narratives by assuming the role of factual information and by appealing to emotions. More specifically, this paper explores (a) the types of photographs most common in war museums, (b) the context photography is presented in and how it influences meaning, and (c) the relationship between photography, memory and history. It is argued that photography in museums needs to be treated in a more critical and responsible way.
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.
Crime Scene Photography is a book wrought from years of experience. The material has been carefully selected for ease of use and effectiveness in training, and field tested by the author in his role as a Forensic Services Supervisor for the Baltimore County Police Department.The forensic photographer, or more specifically the crime scene photographer, must know how to create an acceptable image that is capable of withstanding challenges in court. The photographic theory and principals have to be well grounded in the physics of optics, the "how-to? recommendations have to work, and the end r
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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).
A Chronology of Photography presents a fresh perspective on the medium by taking a purely chronological approach to its history, tracing the complex links between technological innovations, social changes, and artistic interventions. Structured around a central timeline that charts the development of photography from early experiments with optics right up to the present-day explosion of digital media, it features sumptuous reproductions of key photographs, together with commentaries and contextual information about the social, political and cultural events of the period in which they were taken. Special technical sections that explain how the development of new camera technology impacted the practice of photography, while feature spreads highlight important themes and influential practitioners. Covering a wide selection of genres, styles and artists, it is invaluable as a comprehensive guide to photography in all its different forms and functions. Paul Lowe was the general editor and lead writer for the book.
Two of Foucault's signature essays on painting are especially well known: the analysis of Velazquez's Las Meninas, and an essay on Rene Magritte that includes a striking account of how abstraction displaced representation in Western art. In addition, many of Foucault's texts are studded with acute descriptions of major painters from Breughel to Warhol; he gave lecture courses on quattrocento painting and Manet and published essays on several contemporary artists (Rebeyrolle, Fromanger, Michals). Since one of Foucault's major themes was the relation between visibility and discursivity, it is not surprising to find that painting is a favored site for exploring variations in this conjuncture. Throughout his work, painting and the visual arts serve as emblems of the epistemes that characterize distinct epochs of thought. At the same time, Foucault's engagement with contemporary art reveals his sense of its political significance and force. These themes coincide in Foucault's continuing interest in how art forms can break with acquired archives, apparatuses, and practices. In (mostly implicit) contrast with romantic concepts of genius (as in Kant, or more generally in the time of "man and his doubles"), Foucault attempted to analyze and articulate the processes of rupture and transformation that mark specific changes in what is called style. Dominant trends in art history either sought to trace relatively continuous developments (following a Hegelian lineage) or operated with sets of categories derived from Geistesgeschichte such as Heinrich Wollflin's linear and painterly modes. Philosophical aesthetics (as Derrida observes) has systematically (from Plato to Heidegger) given premier status to the linguistic arts of poetry and literature. Both of those ways of understanding visual art are put into question by Foucault's engagement with painting and photography.
Street Photography zeigt das Leben der Menschen im öffentlichen Raum, unverfälscht und authentisch. Damit befindet sich dieses Genre allerdings im ständigen Konflikt mit dem Persönlichkeitsrecht der abgebildeten Personen. Besondere Virulenz erfährt dieses Thema, weil die Anfertigung und Veröffentlichung von Fotografien in den letzten Jahrzehnten inflationär zugenommen haben. Die Arbeit analysiert, wie das deutsche und das europäische Recht - insbesondere nach der Einführung der DSGVO - das Spannungsverhältnis zwischen Fotograf und abgebildeter Person aufzulösen versuchen, und zeigt auf, dass aus rechtsdogmatischen wie aus tatsächlichen Gründen ein legislatorischer Eingriff sinnvoll erscheint
