Search

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]

The article reviews the exhibition "Uche Okeke: Works on Paper, 1958-1993" at the Skoto Gallery in New York City on January 15-February 21, 2015.

The article reviews the exhibition "Light, Paper, Process: Reinventing Photography," featuring works of Alison Rossiter, Ansel Adams, Matthew Brandt and other members of Group f/64 at the Getty Center in Los Angeles, California from April 14-September 6, 2015.

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]

The article reviews the exhibition "Tout Se Sait," held at the Koba Club in Dakar, Senegal in 2014.

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]

The article presents abstracts on mineralogy which include a photography exhibition of minerals, the study of minerals from New York and the Reichenstein-Grieserntal law quartz twin from Brazil.

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]

The article reviews the photography exhibition 'Meggan Gould: Sorry, No Pictures' at the Aurora PhotoCenter, Tube Factory Artspace in Indianapolis, Indiana from December 1, 2023, to January 15, 2024, exploring Gould's meta-photographic theme through conceptual and deconstructive practices.

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]

The article is the extended version of the paper presented at the international workshop Worker Photography in Museums, Prague, February 2020. The topic of worker photographs in museums is inseparable from discussing the use of historical photographs in general in museum context. The article examines the practice of the Museum of Hungarian Labour Movement, an institution that was not dedicated to art history and, accordingly, aesthetic views were not relevant in the evaluation of photographs. First, the author explains how the museum changed names between 1948 and 1995, and describes how its photograph collection evolved through the decades. In the first years the photo stock was regarded as an archive, a visual data repository rather than a collection. From the mid-1960s the historians working at the collection began to treat photographs as historical evidence, advocating that image content should not be deprived of the data related to them. They also carried out researches in connection with the different aspects of the materiality of photographs: production, processes, past uses. Outside the photograph department, however, the evaluation of photographs changed very slowly. The museum's exhibitions presented photographs in the form of reproductions to illustrate different topics in the history of labourers, their role was to create atmosphere. The article describes how interwar worker photographs were used in the permanent exhibition The History of the Hungarian Labour Movement, put on display in 1977. Through the examples of photographs by Károly Escher and Emil Gyagyovszky, the author claims that this exhibition had little willingness to show visitors the data that make photographs historical evidence. The article also points out that the interwar worker photography movement was not presented in the exhibition - this fact suggests that curators did not see photography as a social practice worth studying on its own right. Finally, the article discusses the temporary exhibition The First Hundred Years of Photography in Hungary 1839-1939, put on display in 1988. Curated by the historians of the photograph collection, it showed how photographs could be used as historical evidence to different topics of Hungarian history, and also presented them as objects playing their role in business and society. The exhibition devoted one tableau to the social photography movement in interwar Hungary, and another tableau for Károly Escher's photographs. The explanatory texts to these compila tions prove that in this exhibition the photos were used not as illustrations of the poverty and unemployment of the interwar period, but to show how the recording of social issues turned into a new trend in photography. [ABSTRACT FROM AUTHOR]

Air travel has been an integral part of contemporary tourism, but has been relatively under explored in terms of how it is visualised and represented as part of tourism experiences. This paper explores how the seemingly banal aspects of tourism – such as time spent waiting or transiting – are captured and represented through tourist photography. Reflecting on the process of creating a participatory artwork project, I show how tourists capture their interactions and experiences with an array of transit spaces that play a significant part of the journey. A participatory and creative methodology was employed that invited tourists to share photographs for public exhibitions. The paper explores how the photographs contributed to the artwork offer counter representations of high-speed and glamourized air travel, instead revealing a nuanced, mundane aesthetics of tourist photography and experiences of time spent in transit. [ABSTRACT FROM AUTHOR]

Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

Although discounts in art markets are commonplace, the phenomenon remains largely unresearched. This paper looks at how art market actors understand the functions of discounts, focusing on ‘suppliers’ of the market and drawing on qualitative interviews with artists and art dealers from New Delhi and Mumbai, conducted in January–April 2013. The theoretical basis of this paper is a cultural sociological stance on the functioning of markets, showing how a shared system of norms and values affects the operation of a market. Two circuits of commerce are distinguished in the Indian art market: internationally oriented artists and dealers, whose attitude towards discounts is shaped by the desire to defend the aesthetic value of art; and locally oriented artists and dealers, who are positive about giving discounts and embrace them as a legitimate element of their national culture. [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]

Copyright of Romanica Olomucensia is the property of Palacky University in Olomouc and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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 presents the output of the author's participation in the international workshop Worker Photography in Museums. History and Politics of a Cultural Heritage in East-Central Europe, which took place in Prague on February 26-27, 2020. The subject of the article is interwar social photography in Slovakia, which is analogous to workers' photography in the rest of Europe. The main topic is the gradual transformation of social photography from a form of amateur criticism to its art-historical presentation and a contemporary view on this problem. The first part of the article provides a brief overview of the origin and development of interwar social photography in Slovakia, it mentions the leading figures of this movement, the international contacts and participation in important exhibition events. In the second part, the article elaborates on the postwar increased interest in interwar social photography and the specific stimuli and individuals who contributed to its first research in Slovakia within the emerging history of Slovak photography. Art theorist, later historian of photography Ľudovít Hlaváč, was very much engaged in this field. For him, interwar social photography became a longterm subject of interest from the end of the 1960s to the end of the 1980s, especially in the art-historical point of view. He also manifested his interest in social and humanistic photography in the program of the Chamber Gallery of Photography Profil in Bratislava. The main output of his research and contacts with the living figures of social photography was a group exhibition in 1971 and the art-historical monograph incorporating Slovak social photography into the history of Slovak photography and world social photography. The fruit of Hlaváč's long-term interest in social photography was also his relatively large private collection of diapositives with these motifs, which he decided to sell to the SNG for a symbolic price in 1994. In the third part, the paper elaborates on the research of interwar social photography conducted from the 1990s with a particular focus on the exhibition reflections from 2000 in connection with events organized by the curators of the Collection of Photomedia at the SNG. The research on the presentation and interpretation of works of social photographers introduced an influential model in the art-historical approach set by Ľudovít Hlaváč. It pointed out a strong focus of the curators of these exhibitions on the formal side of these photographs and their tendency to analyse the contribution of the photographs to photographic modernity. In conclusion, it calls attention to the problematic points of previous approaches, particularly in terms of absent material research on the degree of originality of photographs in the SNG collection. In this context, the paper draws attention to current approaches in the history of photography, for example of Geoffrey Batchen, who also examines the importance and function of photographic reproduction for the history of photography. [ABSTRACT FROM AUTHOR]

The article reviews the exhibition "Direct Contact: Cameraless Photography Now" at the Sidney and Lois Eskenazi Museum of Art in Bloomington, Indiana, from February 16 to July 2, 2023, exploring the resurgence of alternative-process photography in a digital age.

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]

Copyright of INTRECCI d'Arte is the property of Universita di Bologna, Dipartimento delle Arti visive, performative e mediali, Alma Mater Studiorum and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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.

Copyright of Arte, Individuo y Sociedad is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Papeles del CEIC is the property of Centro de Estudios sobra la Identidad Colectiva, Facultas de Ciencias Sociales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Purpose -- This study aims to develop an innovative and comprehensive framework to address waterrelated challenges faced by communities located in urban settlements in the area of Greater Cairo. It is commonly accepted that such global challenges that border issues of resilience, community development, social equity and inclusive growth, call for a collaboration of disciplines. Such collaboration allows for the identification of synergies in ways that can enlighten and enrich the space of potential solutions and create pathways towards robust solutions. Design/methodology/approach -- The research process has been participatory, and it involved, apart from site interviews, engagement via a photographic exhibition, during an outreach and engagement event, of the researched sites in one of the academic institutions of the authors. A total of 12 women were interviewed and the expert's workshop was attended by 12 experts. Findings -- Social innovation can promote agile processes to prototyping services, involving multiple sectors and stakeholders through open ecosystems. For urban settlements undergoing rapid expansion, social innovation can help communities and governments to build resilience in the face of resource gaps -- often making use of advancements in technology and improvements from other disciplines (Horgan and Dimitrijevic, 2019). For the unplanned urban areas around Greater Cairo, input from different knowledge areas can offer valuable contributions; in terms of the project and the study that we report on in this paper, the contributing areas included architecture and urban planning, as well as women-led entrepreneurship targeting economic growth, social and community impacts. Originality/value -- In this paper, we demonstrate the significance of a transdisciplinary framework based on social innovation, for the study of women-led entrepreneurship as a response to water-based challenges within an urban settlement. The creation of such a framework can be a significant contribution to conceptualise, examine and respond to "wicked challenges" of urban sustainability. This paper also believes that the readership of the journal will be subsequently benefitting from another way to conceptualise the interplay of theoretical perspectives at the level of organisations and the individual to support the inquiry into such challenges. [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]

Photography is a powerful means of creating, reproducing and preserving memories. Due to the importance of sight in the western culture, photographs have always had the ability to influence people's feelings and emotional state, especially when it comes to tragic events that involve human loss. A single photograph is a fragment of the past that can be used as a material proof of a previously existing situation, while simultaneously being considered a memory and a memento itself. But what about a body of photos linked to challenging events? How can difficult memories be shaped in a museological representation? Museums are the primary institutions that deal with the past, by creating different narratives depending on their strategy. The majority of them is attributed to important, local or national, events, each of them presenting another viewpoint of history. When it comes to commemorating tragedy and human loss, however, representations can get more complicated and less objective, due to people's sensitive stance on the subject. In this paper, the comparative case study between two contemporary museums that used photographs as a structural tool, aims to showcase the diverse results in memory shaping, through two seemingly similar approaches. The National September 11 Memorial Museum (USA) and The Museum of Memory and Human Rights (Chile), have selected alike methods of representing national painful circumstances, by employing vast amounts of photographs. However, the appliance of the same museological tool does not necessarily imply the production of the same type of memory. While trying to identify the different types of memory that could potentially occur on the long-term, the French-Bulgarian historian Tzvetan Todorov introduced the dipole of 'literal' and 'exemplary' memory, which is affected by the way memories are handled in the short-term. Hence, the interpretation of a photograph is highly subjected to the context in which it is presented and the narrative it wishes to support. When it comes to commemorating difficult aspects of the past with the use of photography, museums may need to re-evaluate what is presented as "unique', in order for future generations to be able to deal with their history and better understand its multifaceted nature. [ABSTRACT FROM AUTHOR]

Copyright of Ars Longa is the property of Ars Longa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)