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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]

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]

The discursive turn in heritage studies has made major contributions to our understanding of heritage as a set of processual practices, demonstrating how they are inherently contingent while acknowledging their role in the legitimation of specific relationships of power. More recently, there has been a related interest in the rhetorical uses of heritage, and the paper builds on these debates to explore the ways in which the National Gallery (London) mobilised a rhetoric about access as part of its scheme of post-WWII reconstruction. The popular 'Exhibition of Cleaned Pictures' (1947) sheds light on the rhetorical devices employed by the Gallery. These were a cogent example of the Gallery's intended programme of emancipatory viewership, premised on visitors' the right to look, but simultaneously reinforced the Gallery's authoritative discourses. The paper shows how photography's reportedly unbiased language became embedded in the Gallery's democratising agenda and helped shape distinctive forms of publicness which fostered a consensual view about the Gallery's practice of cleaning. Rather than seeing both episodes as mutually exclusive, the paper investigates the internal logic of democratisation and professionalisation as a series of co-dependent rhetorical operations that simultaneously enabled freedom and coercion. [ABSTRACT FROM AUTHOR]

As one of six internationally recognised ‘Sites of Conscience’ in South Africa, District Six Museum in Cape Town has been at the forefront of the community museum movement since its inception in 1994. Organised by those directly affected by apartheid’s Group Areas Act, the Museum is dedicated to preserving and fighting for the rights and memories of those who were forcibly removed from their District Six homes between 1966 and 1982. A uniquely intimate space, the Museum seeks to balance empathy alongside what it calls ‘critical non-racialism’, as it engages in the ambitious project of re-defining racialised communities in post-apartheid South Africa. This paper explores the tensions between criticality and empathy in relation to District Six Museum’s photographic collection. Focusing particularly on the problem of perspective-taking, this paper analyses the ways in which gradual changes in the Museum’s visitor demographic are compromising its non-racial project. Based on qualitative research that suggests contemporary visitors are less likely to engage in the kind of reconstructive, politicised imaginings that the Museum’s displays require, this paper suggests that empathy, rather than a tool for critical engagement with District Six’s history, is increasingly becoming the means through which alternative memories of District Six are silenced. [ABSTRACT FROM AUTHOR]

This paper describes a 9-month project commissioned by Halton Clinical Commissioning Group (CCG) and Liverpool photography organisation, Open Eye Gallery. Socially engaged photographers worked with local residents from the Windmill Hill estate in Runcorn to describe healthy and unhealthy aspects of the area. Six women were trained to use cameras to document everyday things that mattered to them. Through focus groups they discussed what these photographs revealed about the health and ill-health of the area. The resulting exhibition, As and When, told their story. Despite being a deprived area with more than average incidence of illness, they identified many positive things that enhanced their sense of wellbeing and resilience. The benefits of the project included increased social engagement and participation, an improved sense of vitality and rejuvenation, emotional benefits, a feeling of greater political agency and increased visual literacy. This paper outlines the model of practice developed with the support of CCG and in collaboration with local stakeholders. It makes a case for the value and the ways in which clusters of general practices could develop links and work with health assets in their local communities. [ABSTRACT FROM AUTHOR]

This article is an edited version of the response paper offered at the conclusion of the symposium, Modern Sensibilities. It ties together themes from the symposium papers, as well as ideas prompted by Mieke Bal's exhibition, Emma & Edvard: Love in the Time of Loneliness, and her accompanying book, Emma and Edvard Looking Sideways: Loneliness and the Cinematic. It focuses on the anachronistic entanglements among Flaubert's "Emma," Munch's motifs, Mieke Bal and Michelle Williams Gamaker's Madame B, the Munch Museum's architecture and exhibition scenography, and the exhibition viewer. [ABSTRACT FROM AUTHOR]

In the past few decades, increasing attention has been devoted within various disciplines to aspects previously considered trivial, among which are images, material objects and spaces. While the visual, the material and the spatial are receiving ever more consideration and the myriad issues surrounding them are being tackled, their convergence in educational settings across time and space has thus far remained underexplored. A travelling photo exhibition,The Family of Man, will serve as a starting point in this paper for addressing some of the complexities inherent in this convergence and thus highlight an essential yet neglected feature of education: its reliance on, and creative use of, multiple “modes” of communication and representation when attempting to produce learning effects. As a particular educational constellation that went on to travel throughout the world and interact with the contexts in which it moved,The Family of Manwas anything but neutral in design. The paper will show just how carefully it was composed to promote meaning-, power-, and knowledge-making in accordance with its mission. This border-crossing installation thus constituted a spectacle of different interacting views, forms, surfaces, lighting effects, panoramas, movements, captions and other factors that aimed to create order among things and people. Nevertheless, the paper argues, “theatres of display” in education such as this do not imply determination and causality of effects, but rather provide “uncertain conditions” within a spectrum of “actors” and “actants”. The paper relates this to the manifold affordances of objects, images, places and so on, to disruptions of meaning in their convergence across time and space and to “emancipation” on the part of learners. [ABSTRACT FROM PUBLISHER]

Though Bernd and Hilla Becher worked with photography from the 1950s, it was not until the publication of Anonyme Skulpturen: Eine Typologie technischer Bauten in 1970 that their work was introduced to a broad audience. Known for their documentation of Western European industrial architecture, this paper considers the difference in how the Bechers' photographic documents have been presented in exhibitions, and how they are presented in Anonyme Skulpturen. while their exhibited works are typological grids of industrial architecture, the book presents these typologies as sequences. The difference prompts these questions: what kind of historical data does documentary photography produce? Is its purpose progression or preservation, sequence or seriality? While the Bechers have admitted that their photographs are a way to preserve disappearing industrial architecture, the sequential aspects of Anonyme Skulpturen suggest more progressive meanings. Such a reading is antithetical to considerations of the Bechers that see their photographs as aesthetic statements that archive industrial forms while ignoring the social conditions of industry. Considering the structural components of Anonyme Skulpturen, this paper concludes that the book is a witness to the social conditions of industry, and presents a narrative of progress in post-war Western Europe centralized around the theme of deindustrialization. [ABSTRACT FROM AUTHOR]

This paper focuses on the International Photographic Exhibition (Iphad), held in Dresden in 1909, offering a case study to illustrate the dynamics of exhibition practice during a time of dramatic artistic and social shifts. By the end of the 1920s, a movement known as the 'New Vision' had emerged in Germany and was on its way to becoming an international style, largely through its exposure in high profile exhibitions such as Film und Foto. The New Vision rejected the pre-war mode of Pictorialist photography with its reliance on static subjects and methods borrowed from nineteenth-century painting. But rather than being a sudden development of the late 1920s, the new ways of exhibiting photography that fed into the New Vision's expansive and non-hierarchical approach can be traced back to Iphad, where critics were stunned by the sheer variety of material on display. This earlier critique of Pictorialism was sociocultural as well as technical in character and involved dialectics of juxtaposition, rigorous debates, and jockeying for influence, as is demonstrated through analysis of accompanying publications, installation shots, and published critical reception. This establishes the developmental roots of many elements of the New Vision and its display before it gained international prominence at Film und Foto, particularly the mixing and equating of scientific and artistic photography in exhibitions. The purpose of this paper is to show the complexity and social engagement of art historical shifts and to demonstrate how exhibitions, including those previously under the radar, can often hold a key to understanding these changes. [ABSTRACT FROM AUTHOR]

'From the Picture Press: the SPH Photographs Collection' is an online exhibition based on the Singapore Press Holdings (SPH) archive of photographs covering the pre-indepencence period, i.e., 1950-65. It offers a unique opportunity to take a journey back in time, to experience through these black and white images, before Singapore's rapid modernisation and transformation to become one of the Asia's most affluent and technologically sophisticated city-states. The main aim of this paper is to develop and evaluate an online exhibition system and to find out its usefulness to teachers and students. From the user point of view, they would like to have detailed information about the Singapore including its history to the present. It was noticed that online exhibitions' user interfaces depend on the authoring tools that the institutions used. It was also found that internet is a very convenient medium for the teacher and public to deliver heritage and cultural information. School children are definitely excited over the opportunity to visit the online exhibition at home alongwith their parents. The findings show that teachers liked the online exhibition systems which had lot of cultural heritage information and also felt that it is a way to go forward for knowledge transfer in the future for the children. [ABSTRACT FROM AUTHOR]

In this paper, I try to demonstrate how a huge number of photographs and many heterogeneous photographic stocks can become a source for an exhibition concentrating on photographic features and archival orders – in other words for the photographic dispositif in the context of the photo-archive in the Ruhr Museum, Essen, Germany. It will not be new knowledge to stress that words play a major role in structuring the subject matter for our exhibition. Words are found as key words, chapter titles, captions, data base categories and last but not least as curatorial categories, they are essential parts of photographs, at least of the photographic dispositif. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to bring together the perspectives of anthropology, photography and the subject being photographed, as a theoretical contribution and a methodological invitation, with the scope of understanding how we anthropologists understands the other, how the other perceives that understanding, how we are observed by the other, and how we perceive its understanding of us. Based on Roy Wagner's contributions, the act of photography is presented as a moment of invention, that is, as the moment in which the contexts that are captured and made objective in the image extend. Two photographic exhibitions will thus be analysed, based on such contributions. They were carried out in the town of Alfajayucán, Hidalgo (Mexico), within the ñáhñu indigenous communities in El Espíritu and San Antonio Corrales, during the months of May and June 2008, respectively. And they focus on the experiences resulting from a project on the view of the photographer-anthropologist and that of the ñáhñu participants, during an anthropological investigation on cosmovision and ritual specialists. [ABSTRACT FROM AUTHOR]

The Natural Science Club was founded in Fiume/Rijeka (Naturwissentschaflichen Club in Fiume/Club di scienze naturali in Fiume) on November 28th 1883. The foundation charter stipulated no restriction on language use, and lectures could be held in any language. Right from the start, the Club had active women members, and one of them, Rosa Fatour, the headmistress of the municipal school, held a lecture entitled "Development of anthropology" as early as in 1889. The Club started to publish a bilingual bulletin in German and Italian in 1896 (Mittheilungen des Naturwissenshaftlichen Clubs in Fiume/Bolletino del Club di scienze naturali in Fiume), bringing not only reports on lectures held in the Club, but also important scientific and professional papers. In 1896, several sections were founded within the Club, as follows: I. The Committee for Röntgen, whose aim was to purchase the Röntgen apparatus. This task was completed in 1897. The apparatus was ceded to the municipal hospital in 1899, and the Committee was disbanded. 2. The Photography Section, lead initially by A. Riegler. The section organized several photo exhibitions in which women often took part. 3. The Prehistoric Research Section was founded subsequent to the discovery of the remains of an old fortification in the town. This section collaborated closely with the municipal museum. Since founding and until 1902, Prof Peter Salcher held important positions in the Club; he founded the Röntgen Committee and the Photography Section; he himself gave 31 lectures and was editor of the German part of the Bulletin. [ABSTRACT FROM AUTHOR]

In 2005 the Centre for Contemporary Photography in Melbourne presented the Indigenous photo-media exhibition Black on White. Promising to explore Indigenous perspectives on non-Aboriginality, its catalogue set forth two questions: how do Aboriginal artists see the people and culture that surrounds them? Do they see non-Aboriginal Australians as other? However, art works produced for this exhibition rejected curatorial constructions of Black and White, instead presenting viewers with more complex and ambivalent notions of Aboriginality and non-Aboriginality. This paper revisits the Black on White exhibition as an intercultural event and argues that Indigenous art practitioners, because of their participation in a process to signify what it means to be Aboriginal, have developed new forms of Aboriginality. [ABSTRACT FROM AUTHOR]

The article focuses on the 8th International Conference of the Social Context of Death, Dying and Disposal (DDD8) organized by the Centre for Death and Society (CDAS) and the Institute of Contemporary Interdisciplinary Arts (ICIA) of University of Bath in Bath, England. It also offers information on the two exhibitions to be held during the event, which include "Clothes for Death," featuring the photographs of Margareta Kern and "Resort" featuring the charcoal drawings of Judith Tucker as well as the film "For One More Hour With You" made by Alina Marazzi. It also provides abstracts of presentations and papers related to death, dying and bereavement which will be discussed in the 2007 conference.

This paper examines the role of The Family of Man in American cultural diplomacy. The exhibition was circulated around the world by the United States Information Agency (USIA), a government unit charged with distributing information about the culture and civic institutions of the US. The reception of the exhibition by the international viewing public is discussed. The discussion is informed, in part, by photographs documenting visitors to the exhibition. [ABSTRACT FROM AUTHOR]

In 1952, Edward Steichen made an extensive European tour in preparation for the exhibition The Family of Man (1955). The goal of the trip was to contact European photographers, inform them about the forthcoming exhibition and collect photographs for possible inclusion in the exhibition. Based on archival sources and oral interviews, this paper discusses the rationale, strategy and results of the trip, including the Museum of Modern Art exhibition, Post-War European Photography (1953). Insight into the formation of the Family of Man is gained by comparing the photograph-gathering strategies Steichen used in Europe with those used later in the United States. [ABSTRACT FROM AUTHOR]

In western discourse the notion of the contagious, the unclean or the contaminated is never just a neutral descriptor but carries the weight of all that stands against—and paradoxically secures—the categories of normative ontology and epistemology. Set against the ideal closure and invulnerability of the self's “clean and proper body,” this paper investigates the condition of disability as a potentially contaminatory threat. But the given precarious psychic constitution of the subject, and the ontological insecurity of self performativity, can we reconfigure vulnerability not as a term of weakness, but as the very possibility of becoming? [ABSTRACT FROM AUTHOR]