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| decolonising the camera photography in racial time: Decolonising the Camera Mark Sealy, 2019 This book examines how Western photographic practice has been used as a tool for creating Eurocentric and violent visual regimes, and demands that we recognise and disrupt the ingrained racist ideologies that have tainted photography since its inception in 1839. Decolonising the Camera trains Mark Sealy's sharp critical eye on the racial politics at work within photography, in the context of heated discussions around race and representation, the legacies of colonialism, and the importance of decolonising the university. Sealy analyses a series of images within and against the violent political reality of Western imperialism, and aims to extract new meanings and develop new ways of seeing that bring the Other into focus. The book demonstrates that if we do not recognise the historical and political conjunctures of racial politics at work within photography, and their effects on those that have been culturally erased, made invisible or less than human by such images, then we remain hemmed within established orthodoxies of colonial thought concerning the racialised body, the subaltern and the politics of human recognition. With detailed analyses of photographs - included in an insert - by Alice Seeley Harris, Joy Gregory, Rotimi Fani-Kayode and others, and spanning more than 100 years of photographic history, Decolonising the Camera contains vital visual and written material for readers interested in photography, race, human rights and the effects of colonial violence. |
| decolonising the camera photography in racial time: Image Matters Tina Campt, 2012-03-06 Campt explores the affective resonances of two archives of Black European photographs for those pictured, their families, and the community. Image Matters looks at photograph collections of four Black German families taken between 1900 and the end of World War II and a set of portraits of Afro-Caribbean migrants to Britain taken at a photographic studio in Birmingham between 1948 and 1960. |
| decolonising the camera photography in racial time: Photographic Returns Shawn Michelle Smith, 2020-01-03 In Photographic Returns Shawn Michelle Smith traces how historical moments of racial crisis come to be known photographically and how the past continues to inhabit, punctuate, and transform the present through the photographic medium in contemporary art. Smith engages photographs by Rashid Johnson, Sally Mann, Deborah Luster, Lorna Simpson, Jason Lazarus, Carrie Mae Weems, Taryn Simon, and Dawoud Bey, among others. Each of these artists turns to the past—whether by using nineteenth-century techniques to produce images or by re-creating iconic historic photographs—as a way to use history to negotiate the present and to call attention to the unfinished political project of racial justice in the United States. By interrogating their use of photography to recall, revise, and amplify the relationship between racial politics of the past and present, Smith locates a temporal recursivity that is intrinsic to photography, in which images return to haunt the viewer and prompt reflection on the present and an imagination of a more just future. |
| decolonising the camera photography in racial time: Optical Media Friedrich Kittler, 2010 Friedrich Kittler’s lecture series provides a concise history of optical media from Renaissance linear perspective to late twentieth-century computer graphics. He begins by looking at European painting since the Renaissance in order to discern the principles according to which modern optical perception was organised. Kittler also discusses the development of various mechanical devices, like the camera obscura and the laterna magica, which were closely connected to the printing press and which played a pivotal role in the media war between the Reformation and the Counterreformation. After examining this history, Kittler then addresses the ways in which images were first stored and made to move through the development of photography and film. Kittler discusses the competitive relationship between photography and painting as well as between film and theater, as innovations like the Baroque proscenium or “picture-frame” stage evolved from elements that would later constitute cinema. The central question, however, is the impact of film on the ancient monopoly of writing, as it not only provoked new forms of competition for novelists but also fundamentally altered the status of books. In the final section, Kittler examines the development of electrical telecommunications and electronic image processing from television to computer simulations. In short, these lectures provide a comprehensive introduction to the history of image production, which is indispensable for anyone wishing to understand the prevailing audiovisual conditions of contemporary culture. |
| decolonising the camera photography in racial time: Feeling Photography Elspeth H. Brown, Thy Phu, 2014-09-09 This innovative collection demonstrates the profound effects of feeling on our experiences and understanding of photography. It includes essays on the tactile nature of photos, the relation of photography to sentiment and intimacy, and the ways that affect pervades the photographic archive. Concerns associated with the affective turn—intimacy, alterity, and ephemerality, as well as queerness, modernity, and loss—run through the essays. At the same time, the contributions are informed by developments in critical race theory, postcolonial studies, and feminist theory. As the contributors bring affect theory to bear on photography, some interpret the work of contemporary artists, such as Catherine Opie, Tammy Rae Carland, Christian Boltanski, Marcelo Brodsky, Zoe Leonard, and Rea Tajiri. Others look back, whether to the work of the American Pictorialist F. Holland Day or to the discontent masked by the smiles of black families posing for cartes de visite in a Kodak marketing campaign. With more than sixty photographs, including twenty in color, this collection changes how we see, think about, and feel photography, past and present. Contributors. Elizabeth Abel, Elspeth H. Brown, Kimberly Juanita Brown, Lisa Cartwright, Lily Cho, Ann Cvetkovich, David L. Eng, Marianne Hirsch, Thy Phu, Christopher Pinney, Marlis Schweitzer, Dana Seitler, Tanya Sheehan, Shawn Michelle Smith, Leo Spitzer, Diana Taylor |
| decolonising the camera photography in racial time: Potential History Ariella Aïsha Azoulay, 2019-11-19 A passionately urgent call for all of us to unlearn imperialism and repair the violent world we share, from one of our most compelling political theorists In this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasized the possibility of progress while it tries to destroy what came before, and voraciously seeks out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums. By practicing what she calls potential history, Azoulay argues that we can still refuse the original imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas at the moment of conquest to the Congo ruled by Belgium's brutal King Léopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions—an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums—to chart the ways imperialism has sought to order time, space, and politics. Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as “past” and making the repair of torn worlds the substance of politics. |
| decolonising the camera photography in racial time: Calling the shots Jane Lydon, 2014-04-14 Historically, photographs of Indigenous Australians were produced in unequal and exploitative circumstances. Today, however, such images represent a rich cultural heritage for descendants, who see them in distinctive and positive ways. Calling the shots brings together researchers who are using this rich archive to explore Aboriginal history, to identify relatives, and to reclaim culture. It reverses the colonial gaze to focus on the interactions between photographer and Indigenous people — and the living meanings the photos have today. The result is a fresh perspective on Australia’s past, and on present-day Indigenous identities. Innovative in three ways, Calling the shots incorporates Indigenous perspectives on the photographic process and especially the meaning of the photographic archive. It also explores the history of photography in each colony, thus providing a rich and varied series of historical social landscapes. Lastly, it examines the active role played by Indigenous people in photography as a process of encounter and exchange. Contributors include Julie Gough, Jane Lydon, Sari Braithwaite, Shauna Bostock-Smith, Lawrence Bamblett, Michael Aird, Karen Hughes and Aunty Ellen Trevorrow, Donna Oxenham, Laurie Baymarrwangga and Bentley James. |
| decolonising the camera photography in racial time: Photography's Other Histories Christopher Pinney, Nicolas Peterson, 2003-04-24 Moving the critical debate about photography away from its current Euro-American center of gravity, Photography’s Other Histories breaks with the notion that photographic history is best seen as the explosion of a Western technology advanced by the work of singular individuals. This collection presents a radically different account, describing photography as a globally disseminated and locally appropriated medium. Essays firmly grounded in photographic practice—in the actual making of pictures—suggest the extraordinary diversity of nonwestern photography. Richly illustrated with over 100 images, Photography’s Other Histories explores from a variety of regional, cultural, and historical perspectives the role of photography in raising historical consciousness. It includes two first-person pieces by indigenous Australians and one by a Seminole/Muskogee/Dine' artist. Some of the essays analyze representations of colonial subjects—from the limited ways Westerners have depicted Navajos to Japanese photos recording the occupation of Manchuria to the changing contract between Aboriginal subjects and photographers. Other essays highlight the visionary quality of much popular photography. Case studies centered in early-twentieth-century Peru and contemporary India, Kenya, and Nigeria chronicle the diverse practices that have flourished in postcolonial societies. Photography’s Other Histories recasts popular photography around the world, as not simply reproducing culture but creating it. Contributors. Michael Aird, Heike Behrend, Jo-Anne Driessens, James Faris, Morris Low, Nicolas Peterson, Christopher Pinney, Roslyn Poignant, Deborah Poole, Stephen Sprague, Hulleah Tsinhnahjinnie, Christopher Wright |
| decolonising the camera photography in racial time: As We Rise: Photography from the Black Atlantic Wedge Collection, 2021 An exhibition accompanying this book will be on view September-November 2022 at the Art Museum, University of Toronto and at The Polygon Gallery, North Vancouver in Spring 2023--Colophon. |
| decolonising the camera photography in racial time: Decolonizing Diasporas Yomaira C Figueroa-Vásquez, 2020-10-15 Mapping literature from Spanish-speaking sub-Saharan African and Afro-Latinx Caribbean diasporas, Decolonizing Diasporas argues that the works of diasporic writers and artists from Equatorial Guinea, Puerto Rico, the Dominican Republic, and Cuba offer new worldviews that unsettle and dismantle the logics of colonial modernity. With women of color feminisms and decolonial theory as frameworks, Yomaira C. Figueroa-Vásquez juxtaposes Afro-Latinx and Afro-Hispanic diasporic artists, analyzing work by Nelly Rosario, Juan Tomás Ávila Laurel, Trifonia Melibea Obono, Donato Ndongo, Junot Díaz, Aracelis Girmay, Loida Maritza Pérez, Ernesto Quiñonez, Christina Olivares, Joaquín Mbomio Bacheng, Ibeyi, Daniel José Older, and María Magdalena Campos-Pons. Figueroa-Vásquez’s study reveals the thematic, conceptual, and liberatory tools these artists offer when read in relation to one another. Decolonizing Diasporas examines how themes of intimacy, witnessing, dispossession, reparations, and futurities are remapped in these works by tracing interlocking structures of oppression, including public and intimate forms of domination, sexual and structural violence, sociopolitical and racial exclusion, and the haunting remnants of colonial intervention. Figueroa-Vásquez contends that these diasporic literatures reveal violence but also forms of resistance and the radical potential of Afro-futurities. This study centers the cultural productions of peoples of African descent as Afro-diasporic imaginaries that subvert coloniality and offer new ways to approach questions of home, location, belonging, and justice. |
| decolonising the camera photography in racial time: Listening to Images Tina M. Campt, 2017-04-07 In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination. |
| decolonising the camera photography in racial time: Neoliberal Apartheid Andy Clarno, 2017-03-07 In recent years, as peace between Israelis and Palestinians has remained cruelly elusive, scholars and activists have increasingly turned to South African history and politics to make sense of the situation. In the early 1990s, both South Africa and Israel began negotiating with their colonized populations. South Africans saw results: the state was democratized and black South Africans gained formal legal equality. Palestinians, on the other hand, won neither freedom nor equality, and today Israel remains a settler-colonial state. Despite these different outcomes, the transitions of the last twenty years have produced surprisingly similar socioeconomic changes in both regions: growing inequality, racialized poverty, and advanced strategies for securing the powerful and policing the racialized poor. Neoliberal Apartheid explores this paradox through an analysis of (de)colonization and neoliberal racial capitalism. After a decade of research in the Johannesburg and Jerusalem regions, Andy Clarno presents here a detailed ethnographic study of the precariousness of the poor in Alexandra township, the dynamics of colonization and enclosure in Bethlehem, the growth of fortress suburbs and private security in Johannesburg, and the regime of security coordination between the Israeli military and the Palestinian Authority in the West Bank. The first comparative study of the changes in these two areas since the early 1990s, the book addresses the limitations of liberation in South Africa, highlights the impact of neoliberal restructuring in Palestine, and argues that a new form of neoliberal apartheid has emerged in both contexts. |
| decolonising the camera photography in racial time: Illuminations Liz Heron, Val Williams, 2021-04-26 This selection of women's writings on photography proposes a new and different history, demonstrating the ways in which women's perspectives have advanced photographic criticism over 150 years, focusing it more deeply and, with the advent of feminist approaches, increasingly challenging its orthodoxies. Included in the book are Rosalind Krauss, Ingrid Sischy, Vicki Goldberg and Carol Squiers. |
| decolonising the camera photography in racial time: Visual Global Politics Roland Bleiker, 2018-02-13 We live in a visual age. Images and visual artefacts shape international events and our understanding of them. Photographs, film and television influence how we view and approach phenomena as diverse as war, diplomacy, financial crises and election campaigns. Other visual fields, from art and cartoons to maps, monuments and videogames, frame how politics is perceived and enacted. Drones, satellites and surveillance cameras watch us around the clock and deliver images that are then put to political use. Add to this that new technologies now allow for a rapid distribution of still and moving images around the world. Digital media platforms, such as Twitter, YouTube, Facebook and Instagram, play an important role across the political spectrum, from terrorist recruitment drives to social justice campaigns. This book offers the first comprehensive engagement with visual global politics. Written by leading experts in numerous scholarly disciplines and presented in accessible and engaging language, Visual Global Politics is a one-stop source for students, scholars and practitioners interested in understanding the crucial and persistent role of images in today’s world. |
| decolonising the camera photography in racial time: Global Photography Erina Duganne, Heather Diack, Terri Weissman, 2020-06-08 This innovative text recounts the history of photography through a series of thematically structured chapters. Designed and written for students studying photography and its history, each chapter approaches its subject by introducing a range of international, contemporary photographers and then contextualizing their work in historical terms. The book offers students an accessible route to gain an understanding of the key genres, theories and debates that are fundamental to the study of this rich and complex medium. Individual chapters cover major topics, including: · Description and Abstraction · Truth and Fiction · The Body · Landscape · War · Politics of Representation · Form · Appropriation · Museums · The Archive · The Cinematic · Fashion Photography Boxed focus studies throughout the text offer short interviews, curatorial statements and reflections by photographers, critics and leading scholars that link photography's history with its practice. Short chapter summaries, research questions and further reading lists help to reinforce learning and promote discussion. Whether coming to the subject from an applied photography or art history background, students will benefit from this book's engaging, example-led approach to the subject, gaining a sophisticated understanding of international photography in historical terms. |
| decolonising the camera photography in racial time: The Violence of the Image Liam Kennedy, Caitlin Patrick, 2020-09-13 Photography has visualized international relations and conflicts from the midnineteenth century onwards and continues to be an important medium in framing the worlds of distant, suffering others. Although photojournalism has been challenged in recent decades, claims that it is dead are premature. The Violence of the Image examines the roles of image producers and the functions of photographic imagery in the documentation of wars, violent conflicts and human rights issues; tackling controversial ideas such as 'witnessing', the making of appeals based on displays of human suffering and the much-cited concept of 'compassion fatigue'. In the twenty-first century, the advent of digital photography, camera phones and socialmedia platforms has altered the relationship between photographers, the medium and the audience- as well as contributing to an ongoing blurring of the boundaries between news and entertainment and professional and amateur journalism. The Violence of the Image explores how new vernacular and artistic modes of photographic production articulate international friction.This innovative, timely book makes a major contribution to discussions about the power of the image in conflict. |
| decolonising the camera photography in racial time: Decolonizing Colonial Heritage Britta Timm Knudsen, John Oldfield, Elizabeth Buettner, Elvan Zabunyan, 2021-09-29 Decolonizing Colonial Heritage explores how different agents practice the decolonization of European colonial heritage at European and extra-European locations. Assessing the impact of these practices, the book also explores what a new vision of Europe in the postcolonial present could look like. Including contributions from academics, artists and heritage practitioners, the volume explores decolonial heritage practices in politics, contemporary history, diplomacy, museum practice, the visual arts and self-generated memorial expressions in public spaces. The comparative focus of the chapters includes examples of internal colonization in Europe and extends to former European colonies, among them Shanghai, Cape Town and Rio de Janeiro. Examining practices in a range of different contexts, the book pays particular attention to sub-national actors whose work is opening up new futures through their engagement with decolonial heritage practices in the present. The volume also considers the challenges posed by applying decolonial thinking to existing understandings of colonial heritage. Decolonizing Colonial Heritage examines the role of colonial heritage in European memory politics and heritage diplomacy. It will be of interest to academics and students working in the fields of heritage and memory studies, colonial and imperial history, European studies, sociology, cultural studies, development studies, museum studies, and contemporary art. The Open Access version of this book, available at www.taylor francis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license. |
| decolonising the camera photography in racial time: Photography After Capitalism Ben Burbridge, 2020-12-15 A polemical analysis of the politics and economics of today's vernacular photographic cultures. In Photography After Capitalism, Benedict Burbridge makes the case for a radically expanded conception of photography, encompassing the types of labor too often obscured by black-boxed technologies, slick platform interfaces, and the compulsion to display lives to others. His lively and polemical analysis of today's vernacular photographic cultures shines new light on the hidden work of smartphone assembly teams, digital content moderators, Street View car drivers, Google “Scan-Ops,”low-paid gallery interns, homeless participant photographers, and the photo-sharing masses. Bringing together cultural criticism, social history, and political philosophy, Burbridge examines how representations of our photographic lives—in advertising, journalism, scholarship and, particularly, contemporary art—shape a sense of what photography is and the social relations that comprise it. More precisely, he focuses on how different critical and creative strategies—from the appropriation of social media imagery to performative traversals of the network, from documentaries about secretive manual labor to science fiction fantasies of future sabotage—affect our understanding of photography's interactions with political and economic systems. Drawing insight and inspiration from recent analyses of digital labour, community economies and post-capitalism, Burbridge harnesses the ubiquity of photography to cognitively map contemporary capitalism in search of its weak spots and levers, sites of resistance, and opportunities to build better worlds. |
| decolonising the camera photography in racial time: Why Art Photography? Lucy Soutter, 2013-02-11 Contemporary art photography is paradoxical. Anyone can look at it and form an opinion about what they see, yet it represents critical positions that only a small minority of well-informed viewers can usually access. Why Art Photography? provides a lively, accessible introduction to the ideas behind today’s striking photographic images. Exploring key issues such as ambiguity, objectivity, staging, authenticity, the digital and photography’s expanded field, the chapters offer fresh perspectives on existing debates. While the main focus is on the present, the book traces concepts and visual styles to their origins, drawing on carefully selected examples from recognized international photographers. Images, theories and histories are described in a clear, concise manner and key terms are defined along the way. This book is ideal for anyone wanting to deepen their understanding of photography as an art form. |
| decolonising the camera photography in racial time: Public, Private, Secret Charlotte Cotton, Marina Chao, Pauline Vermare, 2018 Public, Private, Secret explores the roles that photography and video play in the crafting of identity, and the reconfiguration of social conventions that define our public and private selves. This collection of essays, interviews, and reflections assesses how our image-making and consumption patterns are embedded and implicated in a wider matrix of online behavior and social codes, which in turn give images a life of their own. Within this context, our visual creations and online activities blur and remove conventional separations between public and private (and sometimes secret) expression. The writings address the various disruptions, resistances, and subversions that artists propose to the limited versions of race, gender, sexuality, and autonomy that populate mainstream popular culture. They anticipate a future for our image-world rich with diversity and alterity, one that can be shaped and influenced by the agency of self-representation. |
| decolonising the camera photography in racial time: Words Have a Past Jane Griffith, 2019-04-08 For nearly 100 years, Indian boarding schools in Canada and the US produced newspapers read by white settlers, government officials, and Indigenous parents. These newspapers were used as a settler colonial tool, yet within these tightly controlled narratives there also existed sites of resistance. This book traces colonial narratives of language, time, and place from the nineteenth-century to the present day, post-Truth and Reconciliation Commission. |
| decolonising the camera photography in racial time: Radical Futurisms T. J. Demos, 2023-02-07 What comes after end-of-world narratives: visions of just futurity and multispecies flourishing. There is widespread consensus that we are living at the end—of democracy, of liberalism, of capitalism, of a healthy planet, of the Holocene, of civilization as we know it. Drawing on radical futurisms and visions of justice-to-come emerging from the traditions of the oppressed—Indigenous, African-American, multispecies, anti-capitalist—as materialized in experimental visual cultural, new media, aesthetic practices, and social movements, in this book. T. J. Demos poses speculative questions about what comes after end-of-world narratives, arguing that it's as vital to defeat fatalistic nihilism as the false solutions of green capitalism and algorithmic governance. How might we decolonize the future, and cultivate an emancipated chronopolitics in relation to an undetermined not-yet? If we are to avoid climate emergency's cooptation by technofixes, and the defuturing of multitudes by xenophobic eco-fascism, Demos argues, we must cultivate visions of just futurity and multispecies flourishing. |
| decolonising the camera photography in racial time: The Image of Whiteness Daniel C. Blight, 2022-07-05 How contemporary photographers from Hank Willis Thomas to Libita Clayton have subverted the constructions and complicities of whiteness From the advent of early colonial photography in the 19th century to contemporary white savior social-media images, photography continues to play an integral role in the maintenance of white sovereignty. As various scholars have shown, the technology of the camera is not innocent, and neither are the images it produces. The invention and continuation of the white race is not just a political, social and legal phenomenon; it is also a complexly visual one. What does whiteness look like, and how might we begin to trace an antiracist history of artistic resistance that works against it? The Image of Whitenessseeks to introduce its reader to some important extracts from the troubling story of whiteness, to describe its falsehoods, its paradoxes and its oppressive nature, and to highlight some of the crucial work photographic artists have done to subvert and critique its image. The Image of Whitenessincludes the work of artists Abdul Abdullah, Agata Madejska, Broomberg & Chanarin, Buck Ellison, John Lucas & Claudia Rankine, David Birkin, Hank Willis Thomas, Kajal Nisha Patel, Michelle Dizon & Viet Le, Nancy Burson, Nate Lewis, Libita Clayton, Paul Mpagi Sepuya, Richard Misrach, Sophie Gabrielle, Stacy Kranitz and Stanley Wolukau-Wanambwa. |
| decolonising the camera photography in racial time: Decolonising Curricula and Pedagogy in Higher Education Shannon Morreira, Kathy Luckett, Siseko H. Kumalo, 2023-09 This book brings together voices from the Global South and Global North to think through what it means, in practice, to decolonise contemporary higher education. |
| decolonising the camera photography in racial time: Viewfinders Jeanne Moutoussamy-Ashe, 1993 Although photography is well along in its second century, until now virtually nothing has been written about the work of black women photographers. In this historical survey Jeanne Moutoussamy-Ashe presents an impressive selection of photographs, commenting on the careers of the professional and fine arts photographers, from the pioneers to the women of today. The book is divided into six parts, each Overview describing the triumphs and struggles of various photographers of different eras. The careful attention to detail is illustrated in the photographs of early twentieth-century photographer Elnora Teal and in the work of Eslanda (Mrs. Paul) Robeson from her travels throughout the world. It also offers glimpses of black Hollywood in the 1940s and 1950s and of New York's Harlem during the same period. The photographs of contemporary photographers, among them Coreen Simpson, with her flamboyant style, and Fern Logan, with her strong eye, demonstrate the talent and style black women continue to show in the field of photography. This collection of photographs - meaningful, striking, handsome - will give pleasure to photo buffs, historians, and to anyone fascinated by this neglected but vital part of history. |
| decolonising the camera photography in racial time: Curating as Anti-racist Practice Natalie Bayer, Belinda Kazeem-Kaminski, Nora Sternfeld, 2018 The anthology 'Curating as Anti-Racist Practice' reflects upon museums and exhibitions from the perspective of postcolonial museology, and critical migration and regime research. Beyond critical analysis, this collection of texts is about collecting strategies and forms of action that make it possible to think of curating as anti-racist practice. Using as springboards the intersections between social battlefields and curatorial practices, as well as a focus on agency, this book examines the relationality of struggles for and against representation. Therefore, the focus is on discursive strategies of resistance, contact zones and approaches to re-appropriation. |
| decolonising the camera photography in racial time: The Civil Contract of Photography Ariella Azoulay, 2008 An argument that anyone can pursue political agency and resistance through photography, even those with flawed or nonexistent citizenship.In this compelling work, Ariella Azoulay reconsiders the political and ethical status of photography. Describing the power relations that sustain and make possible photographic meanings, Azoulay argues that anyone--even a stateless person--who addresses others through photographs or is addressed by photographs can become a member of the citizenry of photography. The civil contract of photography enables anyone to pursue political agency and resistance through photography.Photography, Azoulay insists, cannot be understood separately from the many catastrophes of recent history. The crucial arguments of her book concern two groups with flawed or nonexistent citizenship: the Palestinian noncitizens of Israel and women in Western societies. Azoulay analyzes Israeli press photographs of violent episodes in the Occupied Territories, and interprets various photographs of women--from famous images by stop-motion photographer Eadweard Muybridge to photographs from Abu Ghraib prison. Azoulay asks this question: under what legal, political, or cultural conditions does it become possible to see and to show disaster that befalls those who can claim only incomplete or nonexistent citizenship?Drawing on such key texts in the history of modern citizenship as the Declaration of the Rights of Man together with relevant work by Giorgio Agamben, Jean-Fran ois Lyotard, Susan Sontag, and Roland Barthes, Azoulay explores the visual field of catastrophe, injustice, and suffering in our time. Her book is essential reading for anyone seeking to understand the disasters of recent history--and the consequences of how these events and their victims have been represented. |
| decolonising the camera photography in racial time: Photography and War Pippa Oldfield, 2019 There are countless books on war photography, most of them focusing on dramatic images made by photojournalists in combat zones. Photography and War instead proposes a radically expanded notion of war photography, one that encompasses a far broader terrain of geographies, chronologies, practices, and viewpoints. Pippa Oldfied considers photography's fundamental role in military reconnaissance, propaganda, and protest, as well as the exposure of war crimes and the memorialization of war, among other themes. While iconic images by well-known names such as Roger Fenton and Robert Capa are included, the viewpoints of people who have historically been overlooked--women and photographers from diasporic and non-Western backgrounds--are significantly gathered here. As a result, this book offers a nuanced and more inclusive understanding of war as a far-reaching undertaking in which anyone might be implicated and affected. Richly illustrated, with some photos published for the first time, Photography and War offers an accessible and well-rounded introduction to photography's perhaps most contested, complex, and emotive subject. |
| decolonising the camera photography in racial time: Decolonizing the Camera Mark Anthony Sealy, 2016 |
| decolonising the camera photography in racial time: The Unfinished Conversation Mark Sealy, Gaëtane Verna, 2016-09 |
| decolonising the camera photography in racial time: Gifts of Gravity and Light ANITA. MARLAND ROY (PIPPA.), Pippa Marland, 2022-03-11 |
| decolonising the camera photography in racial time: Decolonizing Sociology Ali Meghji, 2021-02-01 Sociology was institutionalized as a discipline at the height of global colonialism and imperialism. Over a century later, sociology is yet to shake off its commitment to a colonial logic. This book explores why, and how, sociology needs to be decolonized. It analyses how sociology was integral in reproducing the colonial order, as dominant sociologists constructed theories either assuming or proving the supposed barbarity and backwardness of colonized people. Ali Meghji reveals how colonialism continues to shape the discipline today, dominating both social theory and the practice of sociology, how exporting the Eurocentric sociological canon erased social theories from the Global South, and how sociologists continue to ignore the relevance of coloniality in their work. This critique and guide will be necessary reading for any student or proponent of sociology. In conversation with other decolonial advocates, Meghji provides key suggestions for what the sociological community can do to decolonize sociology going forward. Because, with curriculum reform and innovative teaching, it is possible to make sociology more equitable on a global scale. |
| decolonising the camera photography in racial time: African American Artists Performing for the Camera After 1970 Martyna Ewa Majewska, 2025-03-27 This study demonstrates how African American artists active since the 1970s have instrumentalized performance for the camera to intervene in existing representations of Black and Brown people in America and beyond. Majewska argues that producing carefully designed photographs, films, and videos via performance became a key strategy for dismantling the conceptions of race and gender fixed by US popular culture, jurisprudence, and pseudoscience. Studying the work of Adrian Piper, Glenn Ligon, Lyle Ashton Harris, Senga Nengudi, Maren Hassinger, Howardena Pindell, David Hammons, and Pope.L, this book examines the ways in which these artists incorporate their bodies and personal experience into their respective performances, simultaneously courting and foreclosing autobiographical readings. The strategies examined here, while diverse, all challenge conventional interpretations of performance art—especially those overdetermined by race, gender, and sexuality. The book will be of interest to scholars working in art history, performance studies, photography, and African American studies. |
| decolonising the camera photography in racial time: The Art of Photography Bruce Barnbaum, 2017 Featuring nearly 200 beautiful photographs, as well as numerous charts, graphs, and tables, this invaluable book presents how-to techniques to beginner, intermediate, and advanced photographers for both traditional and digital approaches. -- |
| decolonising the camera photography in racial time: The Routledge Companion to Photography, Representation and Social Justice Moritz Neumüller, 2022-12-30 Including work by leading scholars, artists, scientists and practitioners in the field of visual culture, The Routledge Companion to Photography, Representation and Social Justice is a seminal reference source for the new roles and contexts of photography in the twenty-first century. Bringing together a diverse set of contributions from across the globe, the volume explores current debates surrounding post-colonial thinking, empowerment, identity, contemporary modes of self-representation, diversity in the arts, the automated creation and use of imagery in science and industry, vernacular imagery and social media platforms and visual mechanisms for control and manipulation in the age of surveillance capitalism and deep fakes, as well as the role of imagery in times of crisis, such as pandemics, wars and climate change. The analysis of these complex themes will be anchored in existing theoretical frameworks but also include new ways of thinking about social justice and representation and how to cope with our daily image tsunami. Individual chapters bring together a diverse set of contributions, featuring essays, interviews, conversations and case studies by artists, scientists, curators, scholars, medical doctors, astrophysicists and social activists, who all share a strong interest in how lens-based media have shaped our world in recent years. Expanding on contemporary debates within the field, the Companion is essential reading for photographers, scholars and students alike. |
| decolonising the camera photography in racial time: Collective Memory and Dutch East Indiehb DOOLAN, 2021-09-27 This book examines the afterlife of decolonization in the collective memory of the Netherlands. It offers a new perspective on the cultural history of representing the decolonization of the Dutch East Indies, and maps out how a contested collective memory was shaped. Taking a transdisciplinary approach and applying several theoretical frames from literary studies, sociology, cultural anthropology and film theory, the author reveals how mediated memories contributed to a process of what he calls unremembering. He analyses in detail a broad variety of sources, including novels, films, documentaries, radio interviews, memoires and historical studies, to reveal how five decades of representing and remembering decolonization fed into an unremembering by which some key notions were silenced or ignored. The author concludes that historians, or the historical guild, bear much responsibility for the unremembering of decolonization in Dutch collective memory. |
| decolonising the camera photography in racial time: Documentary in Practice Jane L. Chapman, 2007-02-05 Documentary in Practice provides a unique approach to practical documentary-making. Through fascinating analysis of real-life production situations, Jane Chapman shows the challenges and issues faced during the filmmaking process by a range of both well-known and up-and-coming documentary-makers. She also brings her own personal experience as a seasoned documentary producer and teacher to advise on how students can gain invaluable insight from these projects. Throughout this compelling text, a variety of producers past and present provide their inside project stories and production records, including scripts, fundraising proposals, budgets, diagrams, post-production records and reviews. Across continents, every project and its makers are different whether they are famous names from the canon', television freelances, art-house directors, documentary-maker activists or first-time filmmakers but they all face a range of challenges: * how to connect visual approach to content idea * morality of camera presence * complaints and ethical challenges * legal issues and censorship * budgetary factors influencing choices * conflict with commissioning editors All students of media studies as well as aspiring documentary-makers will find this book a refreshing introduction to the choices available for filmmaking and the issues that may emerge during the process. |
| decolonising the camera photography in racial time: As We See It Aida Amoako, 2023-03-02 Across photography, sculpture and painting, a new wave of Black artists is challenging persistent tropes in art and wider society to depict a richer portrait of the lives of Black people from all corners of the globe. As We See It brings together 30 image-makers creating visually refreshing narratives on Black cultural identities, and exploring what Blackness brings to the making and viewing of art. |
| decolonising the camera photography in racial time: Forget Photography Andrew Dewdney, 2021-10-19 Why we must forget photography and reject the frame of reality it prescribes and delineates. The central paradox this book explores is that at the moment of photography's replacement by the algorithm and data flow, photographic cultures proliferate as never before. The afterlife of photography, residual as it may technically be, maintains a powerful cultural and representational hold on reality, which is important to understand in relationship to the new conditions. Forgetting photography is a strategy to reveal the redundant historicity of the photographic constellation and the cultural immobility of its epicenter. It attempts to liberate the image from these historic shackles, forged by art history and photographic theory. More important, perhaps, forgetting photography also entails rejecting the frame of reality it prescribes and delineates, and in doing so opens up other relationships between bodies, times, events, materials, memory, representation and the image. Forgetting photography attempts to develop a systematic method for revealing the limits and prescriptions of thinking with photography, which no amount of revisionism of post-photographic theory can get beyond. The world urgently needs to unthink photography and go beyond it in order to understand the present constitution of the image as well as the reality or world it shows. Forgetting photography will require a different way of organizing knowledge about the visual in culture that involves crossing different knowledges of visual culture, technologies, and mediums. It will also involve thinking differently about routine and creative labor and its knowledge practices within the institutions and organization of visual reproduction. |
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