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Photography’s Shifting Terrain: Emerging Histories & New Practices Conference Agenda

2015

NYUAD Saadiyat Campus March 8-10, 2015 Our understanding of the histories and practices of photography is changing as more and more critical attention is being paid to photographic cultures from outside of Europe and North America, and to new forms and functions emergent in a variety of contemporary social and political contexts. Focusing in particular on the Middle East, North Africa, and Asia, this conference brings together scholars, photographers, curators, and archivists from around the world in order to undertake new explorations of photography’s past and present.

International Conference on Photography: University College London, September 8-9, 2016

Royal Anthropological Institute (RAI). The conference aims to provide a space of exchange, stimulating dialogue between social researchers and practitioners who engage with photography creatively and critically. It will serve as a platform for photography; encouraging its uses, analyses and practices in social research, expanding the possibilities of photographic practice beyond its current observational and illustrative uses within academia. The character of research and practice with photography has changed significantly over the past decades. At the same time, cultural, technological and political shifts have led us to re-address the use of photography in academic research, challenging photography as an archaic practice to the moving image or an art practice outside an ideological or social platform. Photography in Academic Research, a two day event welcomes over 70 delegates across 20 panels, round tables and key notes for academics and artists with a passion for photography. Speakers represent 27 countries in this intercultural, interdisciplinary conference. This conference will be the first of what I hope to be a biennial event. It is for scholars and practitioners working in a varied range of cultures, contexts, and academic areas come together to share their perspectives on the use and representation of photography. I would like to take this opportunity to thank our conference chairs, keynote speakers, featured speakers and our event assistants as well as all our contributors and sponsors that made this event possible and I look forward to meeting you all. Sincerely Dr Marcel Reyes-Cortez Conference Director UCL, Institute of Archaeology (Heritage Studies) 31-34 Gordon Square, London, WC1H 0PY in G6 LT, ground floor Welcome to the UCL Institute of Archaeology. The Institute of Archaeology is renowned as one of the world's leading centres of expertise for research and teaching in the fields of Museum Studies, Conservation, Cultural Heritage Studies, and Public Archaeology. This is a strongly interdisciplinary area of study and the Heritage Studies brings together scholars from a wide range of academic and professional backgrounds, including anthropology, archaeology, conservation, curatorship, heritage management, museum education, and material culture studies.

International Conference on Photography

and the Royal Anthropological Institute (RAI). The conference aims to provide a space of exchange, stimulating dialogue between social researchers and practitioners who engage with photography creatively and critically. It will serve as a platform for photography; encouraging its uses, analyses and practices in social research, expanding the possibilities of photographic practice beyond its current observational and illustrative uses within academia. The character of research and practice with photography has changed significantly over the past decades. At the same time, cultural, technological and political shifts have led us to re-address the use of photography in academic research, challenging photography as an archaic practice to the moving image or an art practice outside an ideological or social platform. Photography in Academic Research, a two day event welcomes over 70 delegates across 20 panels, round tables and key notes for academics and artists with a passion for photography. Speakers represent 27 countries in this intercultural, interdisciplinary conference. This conference will be the first of what I hope to be a biennial event. It is for scholars and practitioners working in a varied range of cultures, contexts, and academic areas come together to share their perspectives on the use and representation of photography. I would like to take this opportunity to thank our conference chairs, keynote speakers, featured speakers and our event assistants as well as all our contributors and sponsors that made this event possible and I look forward to meeting you all.

The Routledge Companion to Photography and Visual Culture

2018

The Routledge Companion to Photography and Visual Culture is a seminal reference source for the ever-changing field of photography. Comprising an impressive range of essays and interviews by experts and scholars from across the globe, this book examines the medium’s history, its central issues and emerging trends, and its much-discussed future. The collected essays and interviews explore the current debates surrounding the photograph as object, art, document, propaganda, truth, selling tool, and universal language; the perception of photography archives as burdens, rather than treasures; the continual technological development reshaping the field; photography as a tool of representation and control, and more. One of the most comprehensive volumes of its kind, this companion is essential reading for photographers and historians alike.

Global Photography: A Critical History (TOC and Introduction)

2020

Authors: Erina Duganne, Heather Diack, Terri Weissman 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.

A new kind of history? The challenges of contemporary histories of photography

2010

Since the late 1970s, when the history of photography became an academic subject, and with increasing interest in photography in the art market, there have been frequent calls by various scholars for a 'new kind of history' of photography. These calls were part of what Rosalind Krauss and Annette Michelson described in a special photography issue of October (Summer 1978,) as a renewed scholarly 'discovery' of the medium, characterized by the 'sense of an epiphany, delayed and redoubled in its power.' This rediscovery carried the message that photography and its practices have to be redeemed 'from the cultural limbo to which for a century and a half it had been consigned.'1 The calls for a new history of photography suggested that the time has come to substitute Beaumont Newhall's hegemonic modernist classic The History of Photography from 1839 to the Present with new text/s.2 Newhall was a librarian and later the first director of photography of t...

The Contemporary Abundance of Photographs is an Opportunity for New Documentation

My projects take place mainly in small town India: places on the periphery of nearly everything, but where I contend, most of our mainstream culture is shaped. Rediscovery of the Indian photography history and its subsequent archival is a hot topic in art circles. For me rediscovery and archiving of visual practices from the vernacular is just as important. Indian contemporary photography influences small town Indian photography and vice versa. The class divide never really stops the percolation of ideas through society. The other preoccupation of my research is to make sense in this digital age, of the profusion of images generated every single second by humans and machines. This onslaught of visuals do petrify and terrify many, I just find it fascinating. I have found and identified pictures that survive and float on the top of this tsunami. They are mainly disconnected from their photographers and their places of origin; they exist because they have to. The auto-generation of images through the internet or modern visual technologies is fascinating and, for me, very spiritual. I posit that visual machines have an inherent poetry, the sheer pressure of the statistics helps to reveal it. 2013

Photography and Its Shadow, Stanford University Press, 2020, INTRODUCTION

Photography and Its Shadow, 2020

In the heated debates over the significance and value of photography that swirled around the medium in the first few decades after its invention, it was already clear to both enthusiasts and detractors that the new image-making process was poised to radically alter human experience. Today, a hundred and eighty years after its inception, photography has established itself as the regulating standard for seeing and picturing, remembering and imagining, and, significantly, for mediating relations between ourselves and others. It is now so intimately intertwined within our ordinary routines that we cannot begin to imagine our everyday lives without it. Photography has become an intrinsic condition of the human, a condition that—with Heidegger in mind—may be termed “an Existential.” And yet, photography’s rootedness in the ordinary is so deep that its existential dimension also typically hides from us, challenging us to find a vantage point as well as a philosophical language for describing its pervasive presence. The book thus lays the groundwork for a philosophical interpretation of the changing condition of photography in the twenty-first century. It should be understood as a prolegomenon—not the kind of wide-ranging Prolegomena to Any Future Metaphysics we know from Kant and the history of philosophy, but one that is more narrowly construed, concentrating on a specific metaphysical problem: an introduction to a future metaphysics of the image or to a future ontology of the visual. The term “future” applies here, as it does in Kant, to invite further elaborations of a preliminary ontological framework; but, in contrast to Kant, it also serves to acknowledge and address the ever-changing character of the phenomenon under investigation and, specifically, the fact that as the visual changes, it generates new possibilities for the future of the image. Photography, as Hans Belting reminds us, constitutes only “a short episode in the old history of representation.” The hegemony of the photographic is a short, and likely, a passing chapter in our relationship with images. Yet, as it is caught between “today and tomorrow,” photography also provides an opportune framework for rethinking the condition of the visual image in its movement toward the future, a future for which we are responsible, since its trajectory is determined by our present age.