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Dynamis of the Image
Images are not neutral conveyors of messages shipped around the globe to achieve globalized spectatorship. They are powerful forces that elicit very diverse responses and can resist new visual hegemonies of our global world. Bringing together case studies from the field of media, art, politics, religion, anthropology and science, this volume breaks new ground by reflecting on the very power of images beyond their medial exploitation. The contributions by Hans Belting, Susan Buck-Morss, Georges Didi-Huberman, W.J.T. Mitchell, and Ticio Escobar among others testify that globalization does not necessarily equal homogenization, and that images can open up alternative ways of picturing what is to come.
Mapping Sitting
Setting up on a sunny day at the beach or snapping a passport photo, the studio photographer measures out his working day in repeated frames, fixing the ordinary customer on film. Addressing the enduring value of these portraits and the viewer's common humanity with the subjects is the aim of Mapping Sitting, a collection of studio photographs, primarily from the 1950s and 1960s, that shows an Arab world that defies stereotypes. Drawn from the archives of the Arab Image Foundation, whose mission is to rescue and preserve indigenous Arab photography, and curated by two Lebanese-born artists, Walid Raad and Akram Zaatari, these photographs provide a moving mosaic of Middle Eastern men and women posing in the studio, lounging on the sand, or goofing around on bikes. There are also pages of carefully indexed passport photos, which become charged with meaning in a post-9/11 world. The exhibition from which Mapping Sitting was drawn, mounted at the Grey Art Gallery in New York, was widely reviewed in publications such as The New York Times and New York Magazine.
A Medium Seen Otherwise
"Having undergone profound material, aesthetic, and institutional transformations since the arrival of digital technologies, photography and film frequently intersect in the processes of convergence (the shared technological basis of diverse media in digital code) and remediation (the mutual reshaping of old and new media). However, the foundational relations between film and photography have a long history extending well back into the nineteenth century. This history includes many acclaimed practitioners who have worked in both media, such as Albert Kahn, Helen Levitt, Agnès Varda, Chris Marker, Robert Frank, Wim Wenders, Abbas Kiarostami, and Fiona Tan, but it also involves a range of intermedial forms that combine elements of both media, such as the film still, the film photonovel, and the photofilm. These hybrid forms were long neglected critically because they were considered marginal forms of paratextuality or deviations from medium specificity-the idea that a medium must be deployed according to its own specific capacities compared to other media"--
Die Sammlung Hashem el Madani in der Arab Image Foundation
Das Buch untersucht die Sammlung Hashem el Madani in der Arab Image Foundation anhand der Arbeit von Akram Zaatari. Postkoloniale Diskurse um Studiofotografie im Libanon 1950-1980 stehen im Fokus. Fotografische Praktiken werden in religiösen und säkularen Genderdiskursen sowie Sichtbarkeitsregimen verortet. Sidons Topografien werden im Kontext von Deterritorialisierung, Spaciocide und Desidentifizierung analysiert. Die Fotografie eröffnet neue Möglichkeiten von Subjektformation, Handlungsmacht und trägt zum Gegenwissen in Bezug auf die Kategorien 'Geschlecht', 'Nation' und ' Religion' bei.
Hashem El Madani
Edited by Lisa Le Feuvre and Akram Zaatari. Essay by Stephen Wright.
Camerawork
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Six Lines of Flight
The art world is no longer defined by the activity of traditional art centres such as New York, Berlin, Beijing, or London, but is instead shaped by many cities, small and large. This book explores the hybrid nature of today's international artistic landscape by introducing readers to the art scenes in six featured cities.
The Cinema of Me
When a filmmaker makes a film with herself as a subject, she is already divided as both the subject matter of the film and the subject making the film. The two senses of the word are immediately in play - the matter and the maker--thus the two ways of being subjectified as both subject and object. Subjectivity finds its filmic expression, not surprisingly, in very personal ways, yet it is nonetheless shaped by and in relation to collective expressions of identity that can transform the cinema of 'me' into the cinema of 'we'. Leading scholars and practitioners of first-person film are brought together in this groundbreaking collection to consider the theoretical, ideological, and aesthetic challenges wrought by this form of filmmaking in its diverse cultural, geographical, and political contexts.
Research in Photography
A body of photographic work is developed through knowledge gained in exploring the medium: investigating histories and theories of photography, observing the world, reading and listening, taking part in debate and critical reflection. With 150 images bringing together an eclectic range of photographic styles and genres, Fox and Caruana demonstrate how research can lead to fruitful, original photography projects.Designed to help you create better pictures, for portfolio or for profit, Research in Photography offers essential research and communication techniques to complement your technical expertise through a range of practical tools and examples. Two new chapters have been added to this second edition on 'Writing for Research' and 'Commercial Practice', as well as additional coverage discussing how to secure funding and professionalizing research.
Art and AsiaPacific
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