scholarly journals Documentary Photography and the Representation of Life on the Streets in Two Works by Martha Rosler and Jeff Wall: Ethical and Aesthetic Considerations

IdeAs ◽  
2019 ◽  
Author(s):  
Gwen Cressman
Keyword(s):  
Documentary Photography ◽  
Martha Rosler

Mobile Perception and the Automotive Prosthetic

Transfers ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 73-96 ◽  
Author(s):  
Charissa N. Terranova
Keyword(s):  
Urban Sprawl ◽  
Human Body ◽  
Conceptual Art ◽  
Robert Smithson ◽  
Martha Rosler ◽  
The World ◽  
1960S And 1970S ◽  
The 1960S ◽  
And Linguistics

This essay focuses on a body of photoconceptual works from the 1960s and 1970s in which the automobile functions as a prosthetic-like aperture through which to view the world in motion. I argue that the logic of the “automotive prosthetic“ in works by Paul McCarthy, Dennis Hopper, Ed Ruscha, Jeff Wall, John Baldessari, Richard Prince, Martha Rosler, Robert Smithson, Ed Kienholz, Julian Opie, and Cory Arcangel reveals a techno-genetic understanding of conceptual art, functioning in addition and alternatively to semiotics and various philosophies of language usually associated with conceptual art. These artworks show how the automobile, movement on roads and highways, and the automotive landscape of urban sprawl have transformed the human sensorium. I surmise that the car has become a prosthetic of the human body and is a technological force in the maieusis of the posthuman subject. I offer a reading of specific works of photoconceptual art based on experience, perception, and a posthumanist subjectivity in contrast to solely understanding them according to semiotics and linguistics.

Art Writing and Allegory in the Anthropocene

October ◽  
2021 ◽  
pp. 88-108
Author(s):  
Liz Linden ◽  
Susan Ballard
Keyword(s):  
Art Writing ◽  
Martha Rosler ◽  
Per Se

Abstract This essay traces the emergence of a rich and densely layered field of art writing within the Anthropocene. We ask: If the Anthropocene is all around us, where is it in art writing? We identify the emergence of Anthropocenic art writing: writing that is not art writing about the Anthropocene per se but rather art writing that takes its cue from the operations and outcomes of the Anthropocene itself, including its flagrant disregard for boundaries (disciplinary and otherwise), and its agency. We find such strategies already at work, particularly, in writing by artists such as Hito Steyerl, Martha Rosler, and Chris Kraus, as well as in writing that is polyphonic either through the collaboration of multiple writers or through collage. We map art writing's strata (its past and present delineations, some of its cardinal points) in order to identify sites of resistance to the accelerations of the contemporary era, which is to say places where deceleration and deliberation may be possible. Anthropocenic art writing claims such modes as its own. While for scientists the Anthropocene has been marked by the contestation of golden spikes, in art writing these proxy signals go far beyond employing “nature” and the environment as a theme or topic, taking the Anthropocene as an allegorical mode itself.

scholarly journals Subjective documentary photography in ‘Normalised’ Czechoslovakia (1968-89). Decoding Vladimír Birgus’ work

2019 ◽  
Vol 2 (19) ◽  
pp. 101
Author(s):  
Paula Gortázar
Keyword(s):  
Documentary Photography

El objetivo de este artículo es estudiar la aplicación de una ‘mirada subjetiva’ en el documentalismo fotográfico desarrollado en Checoslovaquia durante el periodo de Normalización (1968-1989). La intención del texto es comprender cómo debemos entender la noción de lo ‘subjetivo’ en relacción a la fotografía documental Checoslovaca y su relevancia artística durante las últimas dos décadas de régimen comunista. A través del análisis de la obra de Vladimír Birgus, el artículo estudia cómo los principios de subjetividad fotográfica permitieron a determinados fotógrafos Checoslovacos expresar su crítica hacia el régimen comunista mediante el uso de una serie de mensajes codificados en sus fotografías.

scholarly journals ‘Leaving Dublin’: Photographic portrayals of post-Celtic Tiger emigration – a sociological analysis

2018 ◽  
Vol 67 (3) ◽  
pp. 635-653
Author(s):  
Breda Gray
Keyword(s):  
Visual Culture ◽  
Documentary Photography ◽  
Sociological Analysis ◽  
Celtic Tiger ◽  
Media Environment ◽  
Immigration And Emigration ◽  
Multiple Media ◽  
Complex Circuits ◽  
Media Channels ◽  
The City

This article analyses David Monahan’s photographic portrait series of over 120 people before emigrating from post-Celtic Tiger Ireland, entitled ‘Leaving Dublin’. As a digital series that circulates across multiple media channels, it moves beyond the tradition of documentary photography into a more hybrid aesthetic, political and media environment. As well as inserting these images in multiple circulatory platforms and replicable formats, the series disrupts the dominant visual culture of emigration by expressively recasting how it is seen and thought. This article argues that the highly stylised and unsentimental aesthetic adopted by Monahan pushes the images beyond the established visual culture of sentimental departure, visualising instead transnational and multicultural histories and politics through complex circuits of migration. As such, it highlights what Mieke Bal sees as the instability of migratory culture in the city landscape. At the same time, however, it re-enacts particular social distinctions and divisions. Just as new trajectories, relationalites and stories ‘appear’ as constitutive of Dublin and contemporary mobility, so also other trajectories, relationalities and mobilities are disappeared in ways that keep an exclusionary topography and politics of mobility in place. This is evident in the insistent and persistent separation between Irish asylum-seeking/immigration and emigration-focused digital photographic projects. So, although digitisation facilitates reflexive ways of communicating contemporary migration, and Monahan’s project succeeds in forging subtle connections, it also re-enacts structured disconnection and forgetting.

scholarly journals Perceptions of Needs, Assets, and Priorities Among Black Men Who Have Sex With Men With HIV: Community-Driven Actions and Impacts of a Participatory Photovoice Process

2018 ◽  
Vol 13 (1) ◽  
pp. 155798831880490 ◽  
Author(s):  
Christina J. Sun ◽  
Jennifer L. Nall ◽  
Scott D. Rhodes
Keyword(s):  
Black Men ◽  
Structural Changes ◽  
Group Discussion ◽  
Black Msm ◽  
Documentary Photography ◽  
Medical Systems ◽  
The Public ◽  
Future Aspirations ◽  
Community Forum ◽  
Sex With Men

Black men who have sex with men (MSM) with HIV experience significant health inequities and poorer health outcomes compared with other persons with HIV. The primary aims of this study were to describe the needs, assets, and priorities of Black MSM with HIV who live in the Southern United States and identify actions to improve their health using photovoice. Photovoice, a participatory, collaborative research methodology that combines documentary photography with group discussion, was conducted with six Black MSM with HIV. From the photographs and discussions, primary themes of discrimination and rejection, lack of mental health services, coping strategies to reduce stress, sources of acceptance and support, and future aspirations emerged. After the photographs were taken and discussed, the participants hosted a photo exhibition and community forum for the public. Here, 37 community attendees and influential advocates collaborated with the participants to identify 12 actions to address the men’s identified needs, assets, and priorities. These included making structural changes in the legal and medical systems, encouraging dialogue to eliminate multiple forms of stigma and racism, and advocating for comprehensive care for persons with HIV. As a secondary aim, the impacts of photovoice were assessed. Participants reported enjoying photovoice and found it meaningful. Results suggest that in addition to cultivating rich community-based knowledge, photovoice may result in positive changes for Black MSM with HIV.

At Berkeley

2018 ◽  
pp. 192-209 ◽  
Author(s):  
Michael Mark Cohen ◽  
Leigh Raiford
Keyword(s):  
Higher Education ◽  
Political Mobilization ◽  
Fund Raising ◽  
University Of California ◽  
Documentary Photography ◽  
Public Higher Education ◽  
Education Students ◽  
Student Activists ◽  
The University

In “At Berkeley: Documenting the University in an Age of Austerity,” Michael Mark Cohen and Leigh Raiford address documentary’s evolving capacity for political mobilization by focusing on the role of documentary photography and film in the struggle around austerity at the University of California, Berkeley. While the university administration used documentary’s graphic appeal to enlist alumni in a fund-raising campaign that effectively naturalized the privatization of public higher education, students took up documentary forms to challenge the logic of neoliberalism. Working with Cohen and Raiford, who teach at UC Berkeley, student activists produced their own counterdocuments, repurposing documentary images that the university uses to sell education in an era of skyrocketing tuition fees, and rendering themselves as active participants in the struggle to reshape the university and the broader society.

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