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Journal articles on the topic 'Photographic representation'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Heriwanto, Heriwanto, Muhammad Faiz Bolkiah, and Oky Mauludya Sudradjat. "Photo Arts Concept as Alternative Photography Works." Jomantara: Indonesian Journal of Art and Culture, Vol. 4 No. 2 July 2024 (July 30, 2024): 136–43. http://dx.doi.org/10.23969/jijac.v4i2.13509.

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The development of photography so far has encouraged the birth of various forms of new concepts in the field of photography. The birth of digital photography technology has provided various conveniences and encouraged photographers to develop photography more widely. Currently, the concept of photo art has been widely used by photographers or photo artists through the development of new ideas and concepts in the form of photographic works. Fine art photography can be an assessment and representation for the photographer who created the photograph. Therefore, the time has come for photographers

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Sile, Agnese. "Through the mother’s voice: Exposure and intimacy in Lesley McIntyre’s photo project The Time of Her Life and Elisabeth Zahnd Legnazzi’s Chiara A Journey Into Light." Health: An Interdisciplinary Journal for the Social Study of Health, Illness and Medicine 24, no. 5 (2018): 461–75. http://dx.doi.org/10.1177/1363459318815933.

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When it comes to depicting ill or disabled children, the ethics of representation becomes increasingly complex. The perception of photographs as voyeuristic and objectifying is of particular concern here and resonates with widespread fear about the eroticisation, mistreatment and exploitation of children. Although these fears are reasonable, this view does not take into account the voice and agenda of the photographic subject, disregards the possibility of recognition and the participatory nature of photography. In this article, I focus on photography as a collaborative practice. I analyse two

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Chatterjee, Debangana. "Globalization and the Politics of Photographic Representation: Essentializing the Moments of Agony." Jadavpur Journal of International Relations 22, no. 2 (2018): 167–88. http://dx.doi.org/10.1177/0973598418782745.

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Prima facie photographic representations are reproducing reality, though in most of the cases they are artificially created and subjectively interpreted. Focusing on photography as a form of visual representation, the article argues that globalization as a process accelerates this agenda of photography. This article aims at exploring the cultural penetration of globalization through contemporary visual bombardments. The modern capitalist intervention has made globalization even more pregnable to the grassroots of everyday life. In this way, globalization creates stereotypical visual and cultur

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Markiewicz, Małgorzata. "„Takie jak w rzeczywistości”. Obraz fotograficzny - obiektywne odwzorowanie czy subiektywna kreacja? Fotografia w badaniach archeologicznych." Folia Praehistorica Posnaniensia 28 (December 27, 2023): 207–30. http://dx.doi.org/10.14746/fpp.2023.28.09.

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The article reviews the current state of knowledge on photography and the use of photographs in archaeological research. The discovery of photography was a breakthrough in the history of archaeology. The mechanical method of image registration, considered to be devoid of subjective human intervention, was supposed to guarantee the neutrality and objectivity of the visual representation. Belief in realism of photography has led to it becoming the primary form of documentation in archaeology, for both the research process and the relics themselves. This article will attempt to answer the questio

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Geurts, Merlijn. "The Atrocity of Representing Atrocity - Watching Kevin Carter's 'Struggling Girl'." Aesthetic Investigations 1, no. 1 (2015): 1–13. http://dx.doi.org/10.58519/aesthinv.v1i1.12001.

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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of Carter's phot

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Latto, Richard, and Bernard Harper. "The Non-Realistic Nature of Photography: Further Reasons Why Turner Was Wrong." Leonardo 40, no. 3 (2007): 243–47. http://dx.doi.org/10.1162/leon.2007.40.3.243.

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The authors discuss the limitations of photography in producing representations that lead to the accurate perception of shapes. In particular, they consider two situations in which the photographic representation, although an accurate reproduction of the geometry of the two-dimensional image in the eye, does not capture the way human vision changes this geometry to produce a three-dimensionally accurate perception. When looking at a photograph, the viewer's uncertainty of the camera-to-subject distance and the fact that, unnaturally, a photograph presents almost exactly the same view of an obj

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Merlijn, Geurts. "The Atrocity of Representing Atrocity Watching Kevin Carter's Struggling Girl." Aesthetic Investigations 1, no. 1 (2015): 1–13. https://doi.org/10.5281/zenodo.4013367.

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Taking Kevin Carter's famous photograph of a Sudanese 'Struggling Girl' as an example, this article shows by criticizing the work of photography scholar Ariella Azoulay who argues for an ethic, reparative spectatorship that focuses on the social encounters behind the photograph, how discussions about atrocity photography often result in moral debates: discussions that center around the social relations behind photography and blame the photographer, but do not take into account and criticize the photographic representation of the atrocity. By giving an overview of the afterlife of C

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Samarkina, Mariia. "Ekphrasis in Photography Lyrics: Methods of Representation." Slavic World in the Third Millennium 14, no. 1-2 (2019): 206–18. http://dx.doi.org/10.31168/2412-6446.2019.14.1-2.13.

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The article deals with ekphrasis (verbal description of visual artworks) in lyrics about photography. The purpose of this article is to clarify the possibility of using the term “ekphrasis” in relation to photographic lyrics and to divide the phenomena of photopoetics and photoekphrasis. The difference becomes obvious as we analyze the following texts: “Photograph from September 11” and “Hitler’s First Photograph” by Polish poet Wislawa Szymborska, “A Snapshot” by Russian poet Bella Akhmadulina and “From the Album” by Russian poet Genrikh Sapgir. The four texts are characterized by a special t

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Sile, Agnese. "Mental illness within family context: Visual dialogues in Joshua Lutz’s photographic essay Hesitating beauty." Arts and Humanities in Higher Education 17, no. 1 (2018): 84–103. http://dx.doi.org/10.1177/1474022216684635.

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The status of photography within medical arts or humanities is still insecure. Despite a growing number of published photographic essays that disclose illness experience of an individual and how illness affects close relatives, these works have received relatively little scholarly attention. Through analysis of Joshua Lutz’s Hesitating Beauty (2012) which documents his mother who was suffering from schizophrenia, this article will explore how the photographic essay attempts to reconstruct a dialogue between mother and son out of fragmented, broken and undeveloped communications, and in the pro

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Tarasenko, L. L. "Photographic work as an object of copyright." Uzhhorod National University Herald. Series: Law 1, no. 87 (2025): 299–304. https://doi.org/10.24144/2307-3322.2025.87.1.44.

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The article considers certain problematic aspects of the legal regime of photographic works under the legislation of Ukraine. It has been established that the Law of Ukraine “On Copyright and Related Rights” pays insufficient attention to photographic works as objects of copyright. It has been proved that it is advisable to systematize the legislative provisions on photographic works into a separate article in the Law of Ukraine “On Copyright and Related Rights”, which will allow for a comprehensive definition of the legal regime of a photographic work, the grounds for acquisition and the feat

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Rothwell, Ian. "Jpegs: Thomas Ruff and the horror of digital photography." Philosophy of Photography 12, no. 1 (2021): 93–109. http://dx.doi.org/10.1386/pop_00049_1.

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This article analyses the aesthetics of digital compression as revealed in Thomas Ruff’s Jpegs series of photographs (2004–07). These images exhibit a poor standard of digital picture resolution fixed as large-scale, high-quality, lustrous C-type photographic prints. With reference to Vilém Flusser’s writing on photography, I argue that Ruff’s work discloses a ‘horror of digital photography’: a system of automated representation, which inverts our relationship to the photographic image.

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Gustafsson, Jan. "La imagen, lo real y lo ficcional." Diálogos Latinoamericanos 19, no. 27 (2018): 127–39. http://dx.doi.org/10.7146/dl.v19i27.111652.

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The aim of this article is to study the complex relation between photography and narrative fiction in relation to the use of the former in novels or short stories. As a first hypothesis, I claim that the photographic medium is completely different from other sign-forms or representational vehicles. It is so, due to the consequences of the basic photographic technique: it is, by force, a representation of the “real” and, contrary to most other representations, it “freezes” its object in time. Due to this, the photographic media is directly opposed to narrative fiction, which is, probably, a mai

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Kruse, Adam J., Robin Giebelhausen, Heather N. Shouldice, and Andrea L. Ramsey. "Male and Female Photographic Representation in 50 Years of Music Educators Journal." Journal of Research in Music Education 62, no. 4 (2014): 485–500. http://dx.doi.org/10.1177/0022429414555910.

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Considering the potential for stereotypes to shape professional expectations, the four researchers in this study investigated photographic representation of adult men and women in implied positions of authority in 50 years (1962–2011) of issues of Music Educators Journal ( MEJ). Data included every photograph ( N = 7,288) of adults conducting, teaching or presenting, or granted the authority of having their picture labeled with their name (named persons), and were analyzed by year over the 50-year period. Results showed that females composed 28% of these photographs, with the largest represent

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Carville, Justin. "‘This postcard album will tell my name, when I am quite forgotten’: Cultural Memory and First World War Soldier Photograph Albums." Modernist Cultures 13, no. 3 (2018): 417–44. http://dx.doi.org/10.3366/mod.2018.0220.

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Since the Crimean and American Civil Wars in the nineteenth century, photography has allowed societies to experience war through the collective understanding of photographic representation as an inscription or mnemonic cue for recollections of past events. However, the First World War ushered in new vernacular cultural practices of photography which radically altered how both war was represented and experienced through photography. This shift, in turn, engendered new private and domestic forms of post-war remembrance through the photographic image. Kodak's marketing of the Vest Pocket Autograp

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Salvo, Bianca Tiziana. ""The Contact Zone": Power relations in visual representation of foreign lands, people and objects." ARCHIVO PAPERS 3, no. 1 (2023): 84–99. https://doi.org/10.5281/zenodo.7951261.

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Since its origin, photography has had a close relationship with the manner discoveries have been displayed and understood by the Western world. Even if the accessibility to photographs is currently appreciated as a global phenomenon, the study of digital archives and photographic narratives of the other reveals a biased and defective gaze. Based on Marie Luise Pratt’s proposals of the “Contact Zone”, this essay reflects upon the complexities in the representation of foreign lands, people, and objects as a way to understand the historical power relationships embedded

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Fox, Paul. "An unprecedented wartime practice: Kodaking the Egyptian Sudan." Media, War & Conflict 11, no. 3 (2017): 309–35. http://dx.doi.org/10.1177/1750635217710676.

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This article examines Kodak photographs made by participant soldiers and photographer–correspondents working in the field for the illustrated press during the concluding phase of the 1883–1898 campaign to defeat an Islamist insurgency in the Egyptian Sudan, whose leaders sought to create a regional caliphate. It explores how the presence of early generation portable cameras impacted on image making practices on British operations, and how aspects of campaign experience were subsequently represented in Kodak-derived photograph albums. With reference to graphic art and commercial photographic pr

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Jarmołowicz-Dziekońska, Małgorzata. "Exilic representation and the (dis)embodied self: memory and photography in Yoshiko Uchida’s , autobiography Desert Exile: The Uprooting of a Japanese-American Family." Idea. Studia nad strukturą i rozwojem pojęć filozoficznych 31 (2019): 148–71. http://dx.doi.org/10.15290/idea.2019.31.09.

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Photography and memory seem to be inextricably bound up with each other, as photographs can invoke memories which help to excavate past moments with vivid details. Yoshiko Uchida in her autobiography, Desert Exile: The Uprooting of a Japanese-American Family (1982), delves into her past experiences through the lens of counter-memory, i.e. the memory of the minor and the subjugated. The Japanese-American author strives to recover the past by means of photographic images which—blended into written reminiscences— uncover yet another plane of articulation. Individual memory has enabled the author

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Moore, David. "The Lisa and John Slideshow (2017): A Play about Photography." Arts 12, no. 3 (2023): 109. http://dx.doi.org/10.3390/arts12030109.

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The Lisa and John Slideshow is a theatrical response to my own earlier photographic project, Pictures from the Real World. Colour Photographs, 1987–88, interrogating recurring theoretical questions that challenge the discourse of social documentary photography through an expanded practice. As a significant piece of research, devised through participation with those depicted within the image, the forty-five-minute play questions representational methods through an alternate medium. The project evokes what else was knowable from the terrain of possibilities when the sovereign images of the forme

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Cerasoni, Jacopo Niccolò, Felipe do Nascimento Rodrigues, Yu Tang, and Emily Yuko Hallett. "Do-It-Yourself digital archaeology: Introduction and practical applications of photography and photogrammetry for the 2D and 3D representation of small objects and artefacts." PLOS ONE 17, no. 4 (2022): e0267168. http://dx.doi.org/10.1371/journal.pone.0267168.

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Photography and photogrammetry have recently become among the most widespread and preferred visualisation methods for the representation of small objects and artefacts. People want to see the past, not only know about it; and the ability to visualise objects into virtually realistic representations is fundamental for researchers, students and educators. Here, we present two new methods, the ‘Small Object and Artefact Photography’ (‘SOAP’) and the ‘High Resolution “DIY” Photogrammetry’ (‘HRP’) protocols. The ‘SOAP’ protocol involves the photographic application of modern digital techniques for

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Majewska, Martyna Ewa. "Composting the Monument: Pope.L, Police, and the Trouble With Representation." Visual Arts Research 48, no. 1 (2022): 102–16. http://dx.doi.org/10.5406/21518009.48.1.09.

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Abstract The ways in which we view, process, and respond to photographs of racialized policing and police brutality are conditioned by existing imagery. Yet the images we are most likely to encounter, and the ones we are therefore most accustomed to viewing, fail to account for the totality of racial injustices, violence, and oppression. Photography's ability to occlude inconvenient truths and reproduce certain power dynamics as opposed to others has been identified in numerous analyses of images documenting civil rights activism. Corroborating such findings, photographs capturing the street p

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Close, Ronnie. "Parallax Error: The Aesthetics of Image Censorshipe." Cabinet, Vol. 2, no. 2 (2017): 74–81. http://dx.doi.org/10.47659/m3.074.art.

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Parallax Error is a found photographic image collection scavenged from well-known art history publications in bookstores in Cairo between 2012 and 2014. What makes the series distinct are the forms and styles of censorship used on the original images ahead of sale and public distribution. The altered images involve some of the leading figures in the canon of Western photographic history and these respected photo works enter into a process of state censorship. This entails hand-painting each photograph, in each book edition, in order to obscure the full erotic effect of the object of desire, i.

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Singh, Amrita. "Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival." Studies in Comics 11, no. 2 (2020): 321–39. http://dx.doi.org/10.1386/stic_00033_1.

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In the absence of a verbal language, The Arrival’s mode of representation is derived from various visual storytelling practices in addition to the comic. This article proposes that Tan remediates the mode of comics storytelling by presenting the narrative as a photo album and drawing the panels as photographs, and in turn the photograph is also remediated in the text as a drawn object. Using transmedial techniques such as focalization, gaze, framing and page layout, in addition to deliberations on style and form, Tan constructs comics storytelling with a photographic vision. This photographic

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Ellison, Joy. "Making Pictures: Disabled Nonbinary Praxis in Leslie Feinberg’s screened-in Photography Series." WSQ: Women's Studies Quarterly 51, no. 3-4 (2023): 231–45. http://dx.doi.org/10.1353/wsq.2023.a910083.

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Abstract: This paper expands historical and theoretical engagements with Leslie Feinberg’s life by analyzing the nonbinary and disability politics of hir screened-in photography series. Through a consent-based method called “making” photographs, Feinberg challenged the conventions of photographic representation of disabled and transgender people. The screened-in series provides a nonbinary political/relational model of gender, sexuality, race, and disability.

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Warburton, Nigel. "Varieties of photographic representation." History of Photography 15, no. 3 (1991): 203–10. http://dx.doi.org/10.1080/03087298.1991.10443175.

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Hendan Durahman, Deden, Yasraf Amir Piliang, Irma Damajanti, and Armein Z. R. Langi. "Experimentation and The Vanishing Point of Photography In Contemporary Art." Asian Journal of Social and Humanities 3, no. 4 (2025): 811–24. https://doi.org/10.59888/ajosh.v3i4.486.

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Photography has established itself as a dominant force in contemporary art, yet its boundaries are continuously challenged by experimental practices that merge traditional photographic principles with elements drawn from fine art traditions, such as painting. This presents a critical issue: how can photography evolve conceptually and aesthetically without losing its fundamental identity? This research aims to develop a framework for creating photographic artworks that explore the representational limits of the medium through bold experimentation while preserving its core principles. Employing

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Türkay, Mert Çağıl. "DECONSTRUCTING HEGEMONIC GAZE IN PHOTOGRAPHY." Turkish Online Journal of Design Art and Communication 15, no. 2 (2025): 563–77. https://doi.org/10.7456/tojdac.1614822.

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While the attribution of different meanings to the male image in visual culture involves interventions in forms of representation, it can lead to the objectification of subjects and the reinforcement of stereotypical social roles. With the notions imposed by masculine constructs, society, and today's social media, it is observed that there is a hierarchy of binary gender structuring, power imbalances are frequently encountered, and an attitude that restricts the shaping of representations. This attitude, which can be defined as the hegemonic gaze, refers to the historical and cultural tendency

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Hill, Rodrigo. "Contemporary photography practice: From landscape to expanded modes of place representation." Revista 2i: Estudos de Identidade e Intermedialidade 3, no. 4 (2021): 167–85. http://dx.doi.org/10.21814/2i.3455.

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Contemporary photographic practice has evolved into a broad field of possibilities, a flux of representational modes that represent emotions, experiences and feelings. In parallel the depth and layering of places offers a stimulating challenge to researchers and artists whom are willing to creatively explore nuances of land and nature as well as the multi-sensorial and spatial “reality” of places. The Waikato River is my research locale, located in the central North Island of Aotearoa New Zealand. I draw on contemporary photography practice and theory to develop multimodal approaches to my res

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Ng, Roy. "Rumah Abu : Death and the Photographic Medium in Straits Chinese Ancestral Halls." Southeast of Now: Directions in Contemporary and Modern Art in Asia 7, no. 2 (2023): 3–45. http://dx.doi.org/10.56159/sen.2023.a916546.

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Abstract: This article seeks to establish ancestral photographs as objects of worship and examines the relationship between death and the photographic medium in Straits Chinese ancestral halls, also known as rumah abu , in the former British colonies of Singapore, Malacca, and Penang. Various scholars have argued for a conceptual link between photography and death, but the case for diasporic communities such as the Straits Chinese have been under-studied and rarely discussed in meta-physical terms. Portraits of Straits Chinese matriarchs and patriarchs are commissioned as not merely images of

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Lee, So-Rim. "Between Plastic Surgery and the Photographic Representation: Ji Yeo Undoes the Elusive Narrative of Transformation." positions: asia critique 30, no. 4 (2022): 705–33. http://dx.doi.org/10.1215/10679847-9967318.

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Abstract This essay looks at New York–based South Korean photographer Ji Yeo's two photographic series Beauty Recovery Room and It Will Hurt a Little. Tracing the social rhetoric on plastic surgery in South Korea after the 1997 IMF Crisis, it takes Yeo's photographs as counterexamples to the sensationalized depiction of plastic surgery as a symbol of upward mobility put forth by Seoul's private clinics. It argues that Yeo's images re-present surgery as a practice of bodily rupture necessitating an affective, material, and durational process of recovery, thereby demystifying the elusive narrati

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Ray, Larry. "Social Theory, Photography and the Visual Aesthetic of Cultural Modernity." Cultural Sociology 14, no. 2 (2020): 139–59. http://dx.doi.org/10.1177/1749975520910589.

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Social theory and photographic aesthetics both engage with issues of representation, realism and validity, having crossed paths in theoretical and methodological controversies. This discussion begins with reflections on the realism debate in photography, arguing that beyond the polar positions of realism and constructivism the photographic image is essentially ambivalent, reflecting the ways in which it is situated within cultural modernity. The discussion draws critically on Simmel’s sociology of the visual to elucidate these issues and compares his concept of social forms and their developme

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Göloğlu, Sabiha. "Camera, Canvas, and Qibla: Late Ottoman Mobilities and the Fatih Mosque Painting." Muqarnas Online 38, no. 1 (2021): 253–90. http://dx.doi.org/10.1163/22118993-00381p09.

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Abstract This article discusses the multiple mobilities of images, photographs, photographers, viewers, and places by focusing on Miʿmarzade Muhammed ʿAli’s (d. 1938) oil-on-canvas painting, now located in the Fatih Mosque in Istanbul. It explores the limits, lives, possibilities, and uses of photographic views and the exchanges between photography, painting, and print media by investigating the geopolitics and geopiety of the Hamidian era (i.e., Sultan ʿAbdülhamid II, r. 1876–1909), the production and circulation of early photographs of Mecca and Medina, and the spatial tradition of qibla dec

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Kratz, Corinne A. "Afterword Uncertain trajectories and refigured social worlds: the image entourage and other practices of digital and social media photography." Africa 89, no. 2 (2019): 323–28. http://dx.doi.org/10.1017/s0001972019000032.

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Drawn from East, West, Central and Southern Africa, the case studies in this special issue build on several decades of important work on photography in Africa. That work has examined colonial photography and postcards, studio work from colonial times to the present, activist photography, photojournalism, and artists who work with photographic images. It has addressed issues of representation, portraiture, aesthetics, self-fashioning, identities, power and status, modernities and materiality, the roles of photographs in governance and everyday politics, and the many histories and modes of socia

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HANNA, Helen. "Photography as a Research Method with Learners in Compulsory Education: A Research Review." Beijing International Review of Education 2, no. 1 (2020): 11–34. http://dx.doi.org/10.1163/25902539-00201003.

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This article offers a review of thirty-one research articles from 2001–2019 on the use of photography as a research method with learners in compulsory education. Understood within the scope of ‘visual’, ‘participatory’ and ‘arts-based’ research methods, many scholars have linked the increased use of the photographic method to greater awareness of the rights of the child and changing understandings of children as full ‘human beings’ with agency rather than simply vulnerable ‘human becomings’. Nevertheless, photography is still a relatively under-utilised approach in research with learners in sc

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Şur, Tuncay, and Betül Yarar. "New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne." VISUAL REVIEW. International Visual Culture Review 7, no. 1 (2020): 57–76. http://dx.doi.org/10.37467/gka-revvisual.v7.2598.

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This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic represent

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Şur, Tuncay, and Betül Yarar. "New Wars and Their Visual Representation: Dead Bodies without Graves/Mourne." International Visual Culture Review 2 (March 21, 2020): 1–18. http://dx.doi.org/10.37467/gka-visualrev.v2.2248.

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This paper seeks to understand why there has been an increase in photographic images exposing military violence or displaying bodies killed by military forces and how they can freely circulate in the public without being censored or kept hidden. In other words, it aims to analyze this particular issue as a symptom of the emergence of new wars and a new regime of their visual representation. Within this framework, it attempts to relate two kinds of literature that are namely the history of war and war photography with the bridge of theoretical discussions on the real, its photographic represent

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Saburova, Tatiana. "Geographical Imagination, Anthropology, and Political Exiles." Sibirica 19, no. 1 (2020): 57–84. http://dx.doi.org/10.3167/sib.2020.190105.

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This article is focused on several themes connected with the history of photography, political exile in Imperial Russia, exploration and representations of Siberia in the late 19th–early 20th centuries. Photography became an essential tool in numerous geographic, topographic and ethnographic expeditions to Siberia in the late 19th century; well-known scientists started to master photography or were accompanied by professional photographers in their expeditions, including ones organized by the Russian Imperial Geographic Society, which resulted in the photographic records, reports, publications

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Šejbl, Jan. "Čína ve třech rozměrech. Nejstarší fotografie z Číny ve sbírce stereoskopů Náprstkova muzea v Praze." Muzeum Muzejní a vlastivedná práce 60, no. 1 (2022): 14–27. http://dx.doi.org/10.37520/mmvp.2022.003.

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The study deals with the representation of photographs from China in the Náprstek Museum’s stereoscope collection. A brief summary of the historical development of the Náprstek Museum’s photographic collections and the phenomenon of stereoscopic photography in the 19th century is followed by the results of a survey itself. The images were categorised by an authorship and analysed both technically and thematically. It turned out that the stereoscope collection contains the oldest photographs of China, which can be dated to the turn of the 1850’s and 1860’s.

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Mariana Ortega. "Photographic Representation of Racialized Bodies." Critical Philosophy of Race 1, no. 2 (2013): 163. http://dx.doi.org/10.5325/critphilrace.1.2.0163.

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Lockridge, Rebecca Bryant. "Representation Systems of Photographic Critics." Journal of Communication Inquiry 14, no. 2 (1990): 5–24. http://dx.doi.org/10.1177/019685999001400201.

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Stafford, Andy. "Bazin and Photography in the Twenty-First Century: Poverty of Ontology?" Paragraph 36, no. 1 (2013): 50–67. http://dx.doi.org/10.3366/para.2013.0077.

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According to André Rouillé (2005) the search for photography's ontology is both fruitless and pointless. Six decades after André Bazin's seminal essay, ‘The Ontology of the Photographic Image’ (1945), there is a concerted attempt to remove photography from the ‘reliquary’ of death in which Bazin had (seemingly) locked it. Preferring ‘genesis’ to ‘result’, Bazin had suggested that photography benefited from an ‘essential objectivity’ and that it was close to being a ‘natural phenomenon’: for the first time in history, representation of the external world emerges, mechanically, without human int

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Tarasov, Volodymyr, and Nataliia Markhaichuk. "FEATURES OF THE ARTISTIC LANGUAGE OF PHOTOGRAPHY IN THE CONTEXT OF INTERSPECIFIC TRANSFORMATIONS: PHOTO-READY-MADE AND PHOTOCOLLAGE (ON THE EXAMPLE OF FOREIGN PROJECTS OF THE VENICE BIENNALE 2010-2020)." Journal of V. N. Karazin Kharkiv National University, Series "The Theory of Culture and Philosophy of Science", no. 68 (December 3, 2023): 25–35. https://doi.org/10.26565/2306-6687-2023-68-03.

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The article is devoted to the problem of the artistic language of photography, which is actively transforming in the direction of new types and genres of art. The authors examine the projects of the Venice Biennale 2010s - 2020s by I. Makhami, L. Kita, E. Kotatkova, A. Crosby, V. Mutu, M. Zukerman-Hartung, J. Stezakera, T. Michie that use photography as the main component of artistic expression in works and projects. The article uses the example of the analysis of specific projects and individual works of art to show the unique property of photography to represent one's own species identity, i

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Tsourgianni, Despoina. "Issues of Gender Representation in Modern Greek Art." Aspasia 13, no. 1 (2019): 31–64. http://dx.doi.org/10.3167/asp.2019.130105.

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There is a recent trend, mainly in the field of historiography but also in art history, toward the exploration of female autobiographical discourse, whether it concerns written (autobiographies, correspondence), painted (self-portraits), or photographic data. On the basis of the highly fruitful gender perspective, this article seeks to present and interpret the numerous photographs of the well-known Greek painter Thaleia Flora-Caravia. These photographic recordings, taken almost exclusively from the painter’s unpublished personal archive, are inextricably linked to the artist’s self-portraits.

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Kondratiev, E. A. "Punctum and Reinterpretation in Photography." Art & Culture Studies, no. 2 (June 2021): 38–59. http://dx.doi.org/10.51678/2226-0072-2021-2-38-59.

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The article discusses various theoretical approaches that develop the concepts of punctum and formless in relation to the photographic image. Their connection with the concept of “visual turn” in aesthetics and art theory is examined. Using examples from contemporary artistic and photographic practice, the author demonstrates the change in ideas about the boundaries of representation and ways of reinterpreting modern photography.

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Tomassini, Luigi. "Una "dialettica ferma"? Storici e fotografia in Italia fra linguistic turn e visual studies." MEMORIA E RICERCA, no. 40 (September 2012): 93–110. http://dx.doi.org/10.3280/mer2012-040007.

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How the visual studies have influenced the work of historians? To answer this question the paper addresses some methodological problems that have characterized the historians' growing attention for images over the last decades. Particularly, we examine the photograph as an image that is simultaneously trace and representation of the reality. The second part offers a survey of the works that have used photography as a historical source in Italy, identifying the Italian specificity in a strong presence of historical-political essays using the photographic sources.

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Naldi, Chiara. "Florence’s schools photographic heritages: themes and method of a work in progress research." Rivista di Storia dell’Educazione 9, no. 2 (2022): 63–74. http://dx.doi.org/10.36253/rse-13259.

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This contribution intends to define aims and methodologies of a research project on Florence’s school photographic heritages between Nineteenth and Twentieth century. The research is part of relevant national interest project on school memory and proposes a first and partial reconstruction of the significant role of photography in visual school memories. The research methodology intertwine History of Education with History of Photography and starts from the photographic objects found in the single schools to investigate the historical and pedagogical contests in relationship with their photogr

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Coronado, Jorge. "Instances of Agency: Julio Cordero’s Archive and Photographic Portraits." Bolivian Studies Journal/Revista de Estudios Bolivianos 23 (December 19, 2018): 24–45. http://dx.doi.org/10.5195/bsj.2018.195.

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In this article, I discuss the notion of agency in relationship to Julio Cordero’s photographs. Julio Cordero (1879-1961) owned a photography studio in La Paz in the first half of the twentieth century and produced an array of images both inside and outside of the studio. I also offer a sense of the rich documentation that exists in the complete Cordero archive as well as the insights that it opens up concerning the interventions in self-representation made possible by photographic portraiture. Essentially, these interventions lead us to conceptualize image culture as a prime space for enactin

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KENNEDY, LIAM. "Soldier photography: visualising the war in Iraq." Review of International Studies 35, no. 4 (2009): 817–33. http://dx.doi.org/10.1017/s0260210509990209.

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AbstractThis article focuses on the production and dissemination of photographic images by serving US soldiers in Iraq who are photographing their experiences and posting them on the Internet. This form of visual communication – in real time and communal – is new in the representation of warfare; in earlier wars soldiers took photographs, but these were not immediately shared in the way websites can disseminate images globally. This digital generation of soldiers exist in a new relationship to their experience of war; they are now potential witnesses and sources within the documentation of eve

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ATENCIA-LINARES, PALOMA. "Fiction, Nonfiction, and Deceptive Photographic Representation." Journal of Aesthetics and Art Criticism 70, no. 1 (2012): 19–30. http://dx.doi.org/10.1111/j.1540-6245.2011.01495.x.

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Cui, Shuqin. "The Pregnant Nude and Photographic Representation." Women's Studies 43, no. 8 (2014): 993–1021. http://dx.doi.org/10.1080/00497878.2014.955701.

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Daniel, T. Ezegwu Roselyn E. Edim Aisha Egwa &. Zakari Omale. "Lagos Readers' Perception of Photographic Representation of the 2021 Ikoyi Collapsed Building in Select Nigerian Newspapers." International Journal of Sub-Saharan African Research (IJSSAR) 2, no. 3 (2024): 349–64. https://doi.org/10.5281/zenodo.13861057.

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<strong>Background: </strong>The frightening upsurge in building collapse across Nigeria has become a crucial national issue. With 135 incidents and at least 26 tragic deaths recorded between 2022 and 2024. Building collapse in Nigeria in the last few decades is a developing worry for investors and the government alike. Newspapers and other printed publications use disaster photos to show people the depth of calamity and devastation.  A typical case where photographs were deployed in the depiction of disaster in the Nigerian print media came with the Ikoyi collapsed building, where more t

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