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Photography, history, difference PDF

289 Pages·2015·3.982 MB·English
by  SheehanTanya
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Photography, History, Difference Interfaces: Studies in Visual Culture Editors Mark J. Williams and Adrian W. B. Randolph, Dartmouth College This series, sponsored by Dartmouth College Press, develops and promotes the study of visual culture from a va;priety of critical and methodological perspectives. Its impetus derives from the increasing importance of visual signs in everyday life, and from the rapid expansion of what are termed “new media.” The broad cultural and social dynamics attendant to these devel- opments present new challenges and opportunities across and within the disciplines. These have resulted in a trans-disciplinary fascination with all things visual, from “high” to “low,” and from esoteric to popular. This series brings together approaches to visual culture — broadly conceived — that assess these dynamics critically and that break new ground in understanding their effects and implications. For a complete list of books that are available in the series, visit www.upne.com Tanya Sheehan, ed., Photography, Bernd Herzogenrath, ed., History, Difference Travels in Intermedia[lity]: Ory Bartal, Postmodern Advertising ReBlurring the Boundaries in Japan: Seduction, Persuasion, and Monica E. McTighe, Framed Spaces: the Tokyo Art Directors Club Photography and Memory in Ruth E. Iskin, The Poster: Contemporary Installation Art Art, Advertising, Design, and Alison Trope, Stardust Monuments: Collecting, 1860s–1900s The Saving and Selling of Hollywood Heather Warren-Crow, Girlhood and Nancy Anderson and Michael R. the Plastic Image Dietrich, eds., The Educated Eye: Heidi Rae Cooley, Finding Augusta: Visual Culture and Pedagogy Habits of Mobility and Governance in the Life Sciences in the Digital Era Shannon Clute and Richard L. renée c. hoogland, A Violent Edwards, The Maltese Touch of Embrace: Art and Aesthetics Evil: Film Noir and Potential after Representation Criticism Alessandra Raengo, On the Sleeve of the Steve F. Anderson, Technologies Visual: Race as Face Value of History: Visual Media and the Frazer Ward, No Innocent Bystanders: Eccentricity of the Past Performance Art and Audience Dorothée Brill, Shock and the Senseless Timothy Scott Barker, Time and in Dada and Fluxus the Digital: Connecting Technology, Janine Mileaf, Please Touch: Aesthetics, and a Process Philosophy Dada and Surrealist Objects after of Time the Readymade Edited by Tanya Sheehan Photography, History, Difference H D a a n r o t v m e o r u , t h N e C w o l H l a e m g p e s h P i r r e e s s Dartmouth College Press An imprint of University Press of New England www.upne.com © 2015 Trustees of Dartmouth College All rights reserved Manufactured in the United States of America Designed by Mindy Basinger Hill Typeset in Garamond Premier Pro For permission to reproduce any of the material in this book, contact Permissions, University Press of New England, One Court Street, Suite 250, Lebanon NH 03766; or visit www.upne.com Library of Congress Cataloging-in-Publication Data Photography, history, difference / edited by Tanya Sheehan. pages cm. — (Interfaces: studies in visual culture) Includes bibliographical references and index. isbn 978-1-61168-646-3 (cloth: alk. paper) — isbn 978-1-61168-647-0 (pbk.: alk. paper) — ISBN 978-1-61168-648-7 (ebook) 1.  Photography — History. 2. Photography — Social aspects.   I. Sheehan, Tanya, 1976– tr15.p485 2015 770.9—dc23 2014017887 5 4 3 2 1 Frontispiece: Aniksarauyak and his wife © Library and Archives Canada. Reproduced with the permission of Library and Archives Canada. Richard Harrington Fonds/PA-129944. Contents ix Acknowledgments 1 Introduction Questions of Difference Tanya Sheehan 11 one A “Geographic Fact” Photography, History, and Ireland Justin Carville 33 two Richard Harrington’s Guide Universality and Locality in a Canadian Photographic Document Martha Langford 57 three Royal Photographs in Qajar Iran Writing the History of Photography between Persian Miniature Painting and Western Technology Mirjam Brusius 84 four Toward an Itinerant History of Photography The Case of Lalla Essaydi Andrés Mario Zervigón 104 five “Last Seen Alone on the Prairie” Migration, Photography, and the Invisibility of Women Sigrid Lien 128 six “Picture Taking and Picture Making” Gender Difference and the Historiography of Photography Harriet Riches 151 seven Beyond the “Savage Slot” Ethnography and the National Identity Photograph Karen Strassler 172 eight Agency and Authorship in Australian Photo Histories Catherine De Lorenzo 195 nine Other People’s (Hi)stories Bringing Public-Generated Photography into the Contemporary Art Museum Areti Galani and Alexandra Moschovi 217 ten Intimate Conflicts Foregrounding the Radical Politics of Family Photographs Gil Pasternak 241 Selected Bibliography 257 Index 269 About the Contributors Acknowledgments This book began to take shape in 2011, when I organized with Andrés Mario Zervigón a symposium on global photography and its histories at Rutgers, The State University of New Jersey. That event brought together scholars to reflect on the opportunities and challenges created by geographi- cally and culturally expansive histories of photography. Recognizing the need for future work in this area, I developed a session for the 2012 Association of Art Historians conference around broader questions concerning new ap- proaches to the medium’s historiography. Held outside London, the session attracted the participation of academics and curators from the United States, Europe, and Australia. I am grateful to the contributors to both events for sharing their innovative ideas and research, which have informed the questions taken up in the following pages. Those questions have also been shaped by conversations with other scholars whose work has probed the relations among photography, history, and difference, including Geoffrey Batchen, François Brunet, and members of the Toronto Photography Seminar. Financial assistance for this publication came from the Faculty Research Grant program at Rutgers, where I taught from 2008 to 2013, as well as from Colby College, where I completed the project. I would like to thank these institutions and the University Press of New England for their com- mitment to this work. My final acknowledgment is reserved for the editors at UPNE — Richard Pult, Adrian Randolph, and Mark Williams — whose thoughtfulness and critical insights made this book possible.

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