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The book is dense with Susan Andrews's photographs of the exhibition, the visitors, and the post-exhibition journey of the objects. As befits its open-endedness Daniels does not draw one final conclusion as to whether the exhibition was successful or not in transforming the stereotypes that visitors had of Japanese domesticity. i challenges perceptions of contemporary exhibitions by a reversal of power from the curator to the visitor, thus looking at what exhibitions could be - "technologies of the imagination.". [Extracted from the article]

This paper explores the holistic needs of First Nations people in the archives to control their cultural heritage materials with dignity and respect. It highlights the importance of the archives supporting Indigenous ways of knowing, being and doing. Indigenous people's spiritual and emotional needs are addressed by considering the support for Indigenous people's wellbeing in the archives. Models of social, emotional and cultural wellbeing are presented as alternatives to discussing the need for Indigenous cultural safety in the archives. A definition of Indigenous wellbeing, sovereignty and archival sovereignty provides an approach to caring for historical records with dignity and respect and a framework for the local care and protection of Indigenous people's knowledge into the future. The concept of Returning Love to Ancestors Captured in the Archives (Thorpe 2022), extending the work of (Harkin 2019) and Baker et al. (2020), is offered as a significant reform needed in the approaches to managing historical archives. The paper concludes by sharing a case study of the In Living Memory photographic exhibition, drawn on images created by the former New South Wales Aborigines Welfare Board to demonstrate archival approaches supporting principles of trust, benefit sharing and reciprocal relationships. Combined, they respond to the pressing need for designing respectful archiving approaches for future generations that do not reproduce harm. [ABSTRACT FROM AUTHOR]

Purpose: This paper discusses the importance of product photography in influencing both consumer behaviour and the process of competitiveness among retailers in the e-commerce sector. The aim of the paper is to present the significance of product photography as regards its influence on purchase decisions, further illustrated by the author's own empirical results. Design/methodology/approach: The authors verified the assumption that employing different techniques to produce a product photograph (e.g. lighting, setting) influences purchase decisions in terms of the change in attitude towards an offer under the influence of the photograph taken, the degree of this change and the likelihood of an increase in the conversion rate. The principal research concept is to use three factors that determine, in effect, the significance of product photography presented in different settings. Various combinations of these factors enhance the informational and persuasive function of photography, which rationalises consumer choice in e-commerce. The study was carried out using an online survey method. The authors used purposive sampling. Findings: The main conclusion drawn from the study is that, in the opinion of the respondents, the way in which a product is photographed is of importance when making purchase decisions. The consumer pays attention to the way the product is presented in e-commerce offers and reacts differently depending on the lighting techniques used. The results also indicate that the price of the product plays an important role as a decisive factor in the purchase of the evaluated products by consumers. The findings further indicate that the price of the product is also of great importance to consumers as a factor determining the purchase of the evaluated products. Disclosing additional information about the price of a given product presented during the survey resulted in a change in the respondents’ perception of an offer, regardless of the combination of factors. According to the research assumption made, lighting played a key role in the perception of photographs by potential customers. In the opinion of the respondents, the illumination method had a noticeable effect on accentuating the product details seen in the photographs. Originality/value: This paper discusses the issue of product photography used in different ways in various e-stores' offers. The impact of selected photographic techniques influencing both consumer behaviour and the process of competitiveness among retailers in the e-commerce sector is shown. It was indirectly confirmed that the price and background used when photographing a product significantly influence the perception of the attractiveness of the purchase under consideration, even in a situation when the presentation of the product is optimal, as it provides full, visualised information about it under the circumstances most conducive for a purchase made remotely. [ABSTRACT FROM AUTHOR]

Purpose - The purpose of this paper is to gain knowledge about the current state of economic impact of photography consumption in Romania. This article's aim is to explore art photography market development in Romania and possible influences of art photography consumption on national economy. Design/methodology/approach - Several public databases were consulted to gain information regarding Romanian art photography market. An art photography overview was done. There were analysed subjects as: art photography impact on national economy, how much photography studios are in Romania, how much art photography exhibitions are done in Romania annually. Findings - Photography has weak influences on the national economy compared to other industries. Photography has a major social impact that can also be correlated with economic growth. Originality/value - This paper aims to analyse the economic impact of art photography consumption in Romania and serves as a base for future studies in this area. [ABSTRACT FROM AUTHOR]

We are haunted by "ghosts" derived from the cultural history in which we are immersed. Many of these ghosts are deeply unconscious in a psychodynamic sense―repressed, disavowed, or denied. Experiences of triangulation, via prolonged emotional exposure to a different culture, may assist in gaining awareness of the presence of these ghosts. Cultural beliefs such as the nature of reality, causality, and time are fundamental for the developing child. These beliefs develop in a child through the very earliest identifications with primary caretakers. Hence, they form the fabric of reality for the child. Loewald makes a very similar point about the development of reality sense. Evidence for the child's primary identification with the mother as subject is presented in Trigant Burrow's writing nearly a century ago, and in contemporary writing about gender development in women and in men. Further support for the very early role of culture in promoting "learning from experience" is provided by Mark Solms who demonstrates the crucial role of "precision"―that is, the ability to assess the significance of each perception. Studies of the relationship between dream reality and waking reality for an indigenous people in the Amazon rainforest show that the very fabric of reality depends upon culture. In this paper, the author discusses ghosts from his own childhood and from recent American cultural history. As a Jewish child in America, he absorbed resonances of Eastern European pogroms, Holocaust history, and ancient Jewish slavery in Egypt, commemorated in the Passover Seder. As an American boy, he grew up with the legacies of racism, the enslavement of African–Americans, and genocidal attacks on indigenous peoples. These ghosts (and others) were simultaneously displayed, hidden in plain sight, and deeply repressed in cultural artifacts such as Edward Steichen's Family of Man photographic exhibition. Discussion of that exhibition illustrates the multiple ways that culture is constitutive of conscious, preconscious, and deeply unconscious mental life. In a variety of ways, psychoanalysis both helps and hinders exploration of cultural influences. To shed light on what is culturally repressed, and to triangulate the culture one grows up in, it's helpful to live in another culture for a while. Experiences with the Achuar people in the Amazon rainforest provide a lens for examining culture, reality, and dreaming. [ABSTRACT FROM AUTHOR]

This paper critiques the visual conventions applied to the photography of ethnographic museum collection objects. To "think photographically" in a museum collection, I draw a productive parallel between my fieldwork with Indigenous women artists in central Australia, and photography of poorly documented museum collection objects. I explore the presence of an intersubjective affective gaze in the central Australian Indigenous art works which is amplified through photography. This resistance inspired an experimental exhibition entailing photography of sculptural museum objects with faces. The exhibit's aim was to resocialize these objects into the present through photographs of them. [ABSTRACT FROM AUTHOR]

This essay focuses on a series of photographic negatives relating to the ground‐breaking exhibition Parallel of Life and Art, which opened at London's Institute of Contemporary Arts in 1953. Painstakingly preserved by one of the five exhibition‐makers, the artist‐photographer Nigel Henderson, these dark, translucent forms of photographic image offer the basis for a new interpretation of the exhibition. Crucially, they show how Parallel of Life and Art was rooted – technologically, aesthetically, and conceptually – in photographic negativity. This engagement with the negative found concentrated expression in four photographic images that Henderson created and integrated into the display. Simultaneously rejecting and reworking the conventions of modern art, these images enacted complex forms of negation, which inflected the exhibition as a whole. Read in dialogue with the negatives from Parallel of Life and Art, they pose profound challenges to the established distinctions between the artwork, the photograph, and the exhibition in post‐war Britain. [ABSTRACT FROM AUTHOR]

This article explores the incongruous results of creativity and risk-taking within art practice and everyday life as encountered through the photographic image. The impetus for this study was a humorous experience that took place during health and safety training that raised questions about the role of humour within everyday life. Research was conducted into two forms of visual media, including pamphlets and guides from the British Safety Council (BSC) archives and viral images that demonstrate accidents (tagged with an 'epic fail' hashtag). This led to a practice-based approach to research involving the production of photographic works for an exhibition that tested the role of risk-taking and improvisation within the creative process. This article uses humour theory including superiority, incongruity and relief theory in relation to Louise Peacock's model for the analysis of slapstick, to analyse these different types of photographs and draws comparisons between the risk-taking creative behaviours of both employees and artists. These creative approaches are considered in relation to Michel de Certeau's notion of tactics within everyday life. Ordinary thinking and improvisational tactics are present within both art and work, and improvisation heightens the potential for risk-taking. This may lead to incongruities represented through a photograph which can impact the viewer's engagement through humour, fascination or self-reflexivity. It is proposed that the viewer response to images containing risk is made up of a balance between an embodied understanding of the dangers and an awareness of the artifice, which can shift depending on the conditions of the photograph's production and display. The peculiarities of the photograph are seen as conducive to a humour response because of the photograph's ambiguous relationship with the reality that it represents. [ABSTRACT FROM AUTHOR]

Radiolarians hold a high academic value (e.g., geological, paleontological, and biological); however, they are not well known to the public worldwide. In conjunction with the InterRad XV in Niigata 2017 (Fifteenth Inter-Rad, international conference of radiolarians), certain outreach activities were conducted to raise the profile of radiolarians. Changes in the Google Trends of "Radiolaria" in Japanese were analyzed to evaluate the publicity effect. The search frequency of the term "..." (Radiolaria in Japanese) increased in the first half of 2017 when the outreach activities were conducted. Image search frequency increased noticeably in September 2019 when a picture book featuring radiolarians was published with related photograph exhibitions. Outreach activities related to InterRad XVachieved the desired effect of raising the radiolarian profile. Furthermore, the release of the picture book and the organization of the photograph exhibitions may have attracted the interest of people in radiolarian images. [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic forced a shift in long established participatory visual qualitative methods. Some researchers adapted photovoice— which traditionally happens in-person—and used technology to connect with participants referred to as "digitally mediated photovoice". Collective knowledge about best practices for digitally mediated photovoice to support and enhance research with older adults is in its infancy. Thus, to advance the field, we describe our approach to digitally mediated photovoice with older adults for a study in Vancouver, Canada. We explore participant and researcher reflections with data generated during three sessions over two-and-a-half years during the COVID-19 pandemic. The first two virtual interview sessions used photo elicitation, and the third session was an in-person interactive photography exhibition. We identified three central benefits to using digitally mediated photovoice. This approach 1. built rapport through the shared experience of navigating technology; 2. allowed a rich exchange of information despite physical distancing; and 3. facilitated opportunity for participants to exercise their agency. As we consider constraints for in-person data collection, digitally mediated photovoice may offer an avenue to establish mutually beneficial researcher-participant relationships with older adults. We add to the growing body of literature that addresses how qualitative researchers incorporate technology into the research process to reshape how we understand intimacy and access. [ABSTRACT FROM AUTHOR]

The dialectic between Hybris and Sacrifice - which is deeply rooted in Greek tragedy - is ever-present in Ovid's Metamorphoses and influenced the final years of Aby Warburg's research towards the end of the 1920s. The German scholar had chosen the survival of Classical Culture, Nachleben der Antike, as the basis for his research, and found Ovid's Metamorphoses to be a fundamental source of study on the original value of myths. The Ovid-Austellung was a small photographic exhibition ran in the oval room of the new library - the Kulturwissenschaftliche Bibliothek Warburg in Hamburg - to be held from the twenty-ninth of January to the sixth of February 1927. The notes - now kept at the Warburg Institute Archives in London - reveal it was Warburg's decisive intention to focus on the wide-ranging subject of cultural migration in ancient myths, in terms of time and space, through images. [ABSTRACT FROM AUTHOR]

In 1971, men from Musrara, an impoverished Jerusalem neighbourhood, formed the Black Panthers in protest against institutionalised discrimination against Jews from Muslim countries (Mizrahim). This article examines Born in Israel, a photography project by Ya'akov Shofar that appeared as a photography book in 1984 and as an exhibition at the Israel Museum in Jerusalem in 2017, to unpack the differences between these two instances. Shofar's 1984 project portrayed young Mizrahi Musrara men while being interviewed by a Jerusalem municipality social worker. This collaboration had political potential but only fragments of these interviews are reproduced in the book. Although the men participated in the Black Panthers' protests, the book underscores their ethnicity and avoids mentioning this movement. My study explores the visual and discursive elements that depoliticised the book due to the Black Panthers' perceived threat to the hegemonic social order and in relation to local developments in photography as fine art. I show that, unlike the book, the 2017 Israel museum exhibition promotes Born in Israel's relation to the Black Panthers, but also had limitations and contradictions. Finally, I argue that accounting for the unabridged interviews uncovers hegemonic Israel's patronising attitude towards the marginalised photographed men, and compensates for lacunas in this project's presentations. [ABSTRACT FROM AUTHOR]

In 1968 two generations of Japanese photographers came together to research and curate the most comprehensive exhibition of the history of Japanese photography to date. Examining five hundred thousand photographs from public and private collections across the archipelago, they ultimately presented 1,640 images in a widely attended Tokyo exhibition. Moving beyond photographic nationalism, A Century of Japanese Photography was one of the only instances of public critique of the role of photographers who collaborated with the Japanese state during the Fifteen Year War (1931–45) and the exhibition's popularity launched the movement to build the largest photography museum in Japan. Through analysis of the exhibition and establishment of the Tokyo Metropolitan Museum of Photography, I illuminate how the process of writing the first major history of Japanese photography and building an institution to house its archive was a practice informed by the changing meanings of the role of photographers and museums within Japanese society. [ABSTRACT FROM AUTHOR]

This article discusses a community‐based participatory research (CPBR) project, which used photovoice to explore 43 refugee women's perspectives of settlement in Perth, Western Australia. The research was conducted between a university and a multicultural women's health service from 2016 to 17. The women were given cameras and chose topics to photograph, which represented their settlement experiences and, using reflective group dialogue, reflected on their settlement successes and challenges and provided policy recommendations for improving the settlement process. Eleven women were interviewed for further in‐depth reflections, and 22 women selected photographs and wrote accompanying narratives for a travelling photography exhibition. Key themes of the importance of English language learning and family support during the settlement process are explored. Drawing on intersectionality and postcolonial feminist theories, this article discusses how government provisions for English education are incongruent with the settlement needs of women and access to family reunion is largely unattainable, which has negative implications for women's health and well‐being. This article demonstrates how government policy marginalises women and reinforces an existing gendered, racial hierarchy. An intersectional approach to settlement policymaking and programmes is recommended for women's successful settlement. [ABSTRACT FROM AUTHOR]

This article is a contribution to the current debates in conflict and peace studies that examines the contributions of creative approaches to postwar peacebuilding. It mainly asks how post-conflict peacebuilding can be achieved and promoted through the use of creative approaches and what the potential challenges and limitations are in realizing postwar peacebuilding through creative approaches. We relied on primary qualitative visual data and interview data generated on the photographic exhibition of 'War of Memories' curated in 2017 by the Centre for Non-Violent Action, a civil society organization working on the theme of postwar peacebuilding in Bosnia and Herzegovina (BiH) and Serbia. Findings suggest the creative initiatives can play a positive role at individual level, but their translation into macro-level sustainable social peace is challenging, as long as the structural impediments to peace, prevailing unequal ethnic power relations and ethnicised social and political ordering of the society remain unaddressed. [ABSTRACT FROM AUTHOR]

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In the cold Stockholm winter of 1968, Moderna Museet presented the first major one-person exhibition of Andy Warhol (1928-1987) outside the USA. Showcasing Warhol's screen-printed Flower and Electric Chair paintings, and Marilyn prints, film screenings of Chelsea Girls (1966) and a mountain of 500 Brillo boxes, the exhibition received intense attention. The exterior of the museum building, ornamented with repetitive patterns of the artist's Cow Wallpaper, evoked the show's fundamental rhetoric and translation of Warhol's work. A selection of statements by Warhol, in both English and translated into Swedish, was printed in the first fourteen pages of the exhibition catalogue, as the publication's only text. The catalogue, brilliantly designed, featuring a graphic version of Warhol Flower paintings on the cover repeated in four rows of three, contained black-and-white photos of Warhol and his associates, and was (and still is) considered by many to be an art object in itself. The exhibition still echoes in the art world as much as it has been a part of the narrative of Pop art's soft power invasion of Europe, with its blunt presentation of Pop art imagery and underground culture. It has been argued that the Warhol show flopped in Sweden due to a politicised climate which created a lack of space for a 'more complex view on Warhol's relation to consumption'.1 John- Peter Nilsson has discussed the Warhol show in relation to the politically loaded atmosphere of Spring 1968, rightly suggesting that it was understood within this context.2 This essay, drawing upon the conceptualization of translation connected to ideas of cultural transfer, continues along this line and suggests further that [ABSTRACT FROM AUTHOR]

When People Dancing's 2013 '11 Million Reasons' (11MR) project was first advertised, the vision for the photography exhibition was to 'recreate iconic dance moments in film'. When the 2016 follow-on project '11 Million Reasons to Dance' (11MRTD) was conceptualised, the exhibition's premise was described as commissioning 'images of iconic dance moments from film, all reimagined by Deaf, sight impaired and disabled dancers'. This shift from 'recreated' to 'reimagined', as well as the decision to use a RE approach at all for an intervention, was intriguing. This article explores the meaning, purpose and use of the RE prefix, evaluating its use in dance contexts, its impact when used within disability contexts and its use for the 11MRTD project, as well as considering questions raised by the project regarding the recreation of popular dance scenes in relation to the viewing of non-normative bodies by public audiences. [ABSTRACT FROM AUTHOR]

Purpose: This study aims to address research calls to investigate how (visual) consumption experiences carry and convey meanings to individuals. Applying McCracken's meaning transfer model to a photographic exhibition, the authors expand this model into the realm of aesthetic experiences to explore how the meaning of such an (visual) experience emerges and flows to (novice and expert) consumers. Design/methodology/approach: This research uses an interpretive case study of the photographic exhibition "Facing Mirrors" hosted as part of the Biennale of Contemporary Art, and draws on multiple sources of evidence, notably 50 in-depth visitor interviews, observation and archival records. Findings: The evidence highlights the moveable nature of meaning within an aesthetic context and illustrates the critical role of semiotics and of the different ritualistic behaviors enacted by novice and expert visitors as a means of unfolding and creating the meaning of such an experience. Research limitations/implications: The findings provide implications in terms of (co-)creating authentic, immersive and meaningful (brand) experiences in the fields of visual consumption and customer experience management. Practical implications: Practical implications to arts organizations are also provided in terms of curatorial practices that emphasize the material, emotional and dialogic nature of photographs as a visual art form. Originality/value: The study provides new insights into (visual) consumption experiences by bringing the meaning transfer model together with a semiotic approach, thus illustrating different performances and sense-making activities through which (expert and novice) visitors (co-)create and appropriate the value of their aesthetic experiences. [ABSTRACT FROM AUTHOR]

This article revisits the lynching photograph to consider the rhetorical and cultural practices that instructed the unseeing of white mobs for what it reveals about dematerializing representations of the state in social media imagery documenting anti-Black police brutality. To do this, the author draws on creative, curatorial, and architectural examples that bring the eye into confrontation with the state's hidden hand – the rig that naturalizes the public's first-person (shooter) perspective, the body-worn or (para)surveillance camera footage, obscuring contemporary lynching's stately face from public view. The author reflects on the staging and circulation of lynching photography as well as the exhibition of representative artistic renderings; an example of transgressive spatial engagement at the recently opened National Memorial for Peace and Justice in Montgomery, Alabama; and then turning to Canada, the author offers a case study that considers the outer-national visual implications, concluding with example works by visual artists, Anique Jordan and Jalani Morgan, whose transgressive creative practices demonstrate disinvestments in repair. [ABSTRACT FROM AUTHOR]