Relevant bibliographies by topics / Women in Photography International Archive

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Women in Photography International Archive'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Women in Photography International Archive"

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Karagoz, Claudia. "Double exposures: Embodiment, vulnerability and agency in Letizia Battaglia’s photography." Journal of Italian Cinema & Media Studies 9, no. 3 (June 1, 2021): 349–65. http://dx.doi.org/10.1386/jicms_00081_1.

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Letizia Battaglia is best known for her photojournalistic work during the 1970s and 1980s, when she assembled a vast archive of images of Mafia victims and perpetrators and of poor Sicilians. In recent years, she has created captivating new photographs named Re-elaborations. These works combine in a single frame her historic photographs of Mafia violence with new subjects ‐ women, children and nature. This article investigates how Battaglia’s earlier and new photographs have succeeded in raising awareness about Mafia violence. Engaging with gender and visual theory, the article shows how these works offer compelling narratives of violence and poverty that capture the attention of viewers, involve them in the construction of meaning and prompt empathetic reactions. Despite having received many international awards, only recently has Battaglia’s work been recognized with significant retrospectives in Italy. No major studies on her work have been produced to date, and her recent photographs have received scarce critical attention. This article intends to fill that lacuna, enrich existing conversations on the artist and foster future investigations of her work.
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Hachad, Naïma. "Lalla Essaydi’s Bullets and Bullets Revisited." Journal of Middle East Women's Studies 17, no. 1 (March 1, 2021): 1–21. http://dx.doi.org/10.1215/15525864-8790196.

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Abstract In Bullets and Bullets Revisited (2009–14) the Moroccan-born artist Lalla Essaydi invites the onlooker to reflect on the power dynamics of image production and consumption in a globalizing visual culture. As in the artist’s previous series, the photographs present Moroccan women in interior spaces and poses made familiar to an international audience by nineteenth-century European paintings. However, Essaydi trades Orientalism’s apparent realism and colorful decors for a monochromatic gold color scheme that originates from thousands of bullet casings she has meticulously sewn together to fabricate ceilings, walls, floors, furniture, jewelry, and clothes for her models. This article underscores how Essaydi’s use of a readable symbol of violence allows her to take part in and act on representational traditions that have shaped the perception of Arab Muslim women and the Middle East. Her violent aesthetics further account for curatorial and marketing practices that neutralize the subversive content of art by women originating in North Africa and the Middle East. Often shown in exhibitions featuring similar images and associating women with the veil, weapons, and scenes of destruction, Essaydi’s photographs are uncritically linked to events and situations as varied as the Arab uprisings, violence in the Palestinian territories, and the wars in Syria, Yemen, and Iraq. Instead of illuminating complex sociopolitical issues and reshaping dominant discourses, they become part of a homogenizing visual archive that sustains ways of seeing and producing the Middle East—as inherently violent and culturally backward—that are rooted in imperial imaginaries and political ideologies.
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Smith, Laura Katz. "The International Archive of Women in Architecture:." Art Reference Services Quarterly 1, no. 2 (January 14, 1993): 75–83. http://dx.doi.org/10.1300/j102v01n02_08.

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Janeiro, Ana. "The Archive is Present: Performing a Story of Dictatorship Through the Family Album." Master, Vol. 5, no. 2 (2020): 32–35. http://dx.doi.org/10.47659/m9.032.ess.

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This essay describes an investigation into a family photographic archive that belonged to my grandparents and represent a period in Portugal’s past (1940–1975) scarred by one of the longest dictatorships in history. The research carries out an ‘iconographic’ analysis of the photographs in the family albums and on how these were influenced by the consistent and highly visual propaganda of the New State regime (1933–1974). It demonstrates how the iconography of this visual propaganda embedded itself into the family album, specifically regarding its propaganda strategy and its ideology and politics towards women. Later these findings were explored through performance photography, creating a photographic body of work. Focusing mostly on the figure of my grandmother and exploring pose and gesture, which were subsequently re-performed for the camera. The information contained within the archive images is re-written within the performance images. Keywords: photography and performative, visual propaganda, dictatorship, archive, visualization of the role of women
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Thomas, Kylie. "Zanele Muholi's Intimate Archive: Photography and Post-apartheid Lesbian Lives." Safundi 11, no. 4 (October 2010): 421–36. http://dx.doi.org/10.1080/17533171.2010.511792.

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Connell, Kieran. "Image Matters: Archive, Photography and the African Diaspora in Europe." Contemporary British History 27, no. 2 (June 2013): 232–34. http://dx.doi.org/10.1080/13619462.2013.791479.

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Crane, Sheila. "Review: Glass Ceilings: Highlights from the International Archive of Women Architects." Journal of the Society of Architectural Historians 70, no. 2 (June 1, 2011): 265–66. http://dx.doi.org/10.1525/jsah.2011.70.2.265.

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ALLBESON, TOM. "PHOTOGRAPHIC DIPLOMACY IN THE POSTWAR WORLD: UNESCO AND THE CONCEPTION OF PHOTOGRAPHY AS A UNIVERSAL LANGUAGE, 1946–1956." Modern Intellectual History 12, no. 2 (January 26, 2015): 383–415. http://dx.doi.org/10.1017/s1479244314000316.

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In the postwar decade, UNESCO aimed to create an international public sphere to secure peace. The organization made extensive use of photographs to do so, including the photographic archive of works of art and photojournalism from the ruined cities of Europe. However, photography was not simply a transparent medium for communicating internationalist ideals; it was a formative influence in shaping UNESCO's effort to build “peace in the minds of men”. This essay analyses the conception of photography as a universal language articulated in UNESCO-sponsored forums, the use of photography in UNESCO publications concerning human rights and educational reconstruction, and the internationalist ideals of world culture and world citizenship relevant to UNESCO's early work. Analysis reveals that UNESCO's use of photography was less the valuable deployment of a universal language suited to an internationalist agenda than it was the universalizing of certain cultural values in pursuit of the organization's utopian vision.
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Pierce, Rachel. "The Female Gaze? Postmodernism and the Search for Women in the Digitized Photographic Collections of Swedish Memory Institutions." Open Information Science 3, no. 1 (January 1, 2019): 61–75. http://dx.doi.org/10.1515/opis-2019-0005.

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Abstract Both the photograph and digitization are often defined as democratizing forces. But neither exists outside the system of power dynamics that structure art, history, and cultural heritage. This article uses postmodernist theorization of knowledge hierarchies in the archive developed by archival scholars Terry Cook and Joan Schwartz to examine the gendered nature of metadata and data connected to digitized photographic material available on the platforms of the three major Swedish memory institutions: the Royal Library, the Nordic Museum, and the National Archives. Given that digitized photographs require the addition of machine-readable data and metadata to be findable, this information demonstrates the extent to which digitization staffs have consciously thought about the visibility of gender in their online collections. The research questions of this article are thus twofold: (1) to what extend have Swedish memory institutions embraced a postmodern approach to the archive in their photography digitization projects, and (2) has this approach resulted in the greater visibility of women-oriented material? The findings indicate that Swedish institutions have adopted postmodernist thinking about archival flexibility to varying degrees, but none have thought thoroughly about increasing the visibility of woman-oriented material.
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von der Emde, Silke. "Women in the Archive: Locating the International Tracing Service in German Memory Work." Seminar: A Journal of Germanic Studies 53, no. 3 (September 2017): 202–18. http://dx.doi.org/10.3138/seminar.53.3.02.

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Dissertations / Theses on the topic "Women in Photography International Archive"

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George, Atim Eneida. "Generative Leadership and the Life of Aurelia Erskine Brazeal, a Trailblazing African American Female Foreign Service Officer." Antioch University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1581697056034498.

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Books on the topic "Women in Photography International Archive"

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Palmquist, Peter E. Women photographers in the collection of the Women in Photography International Archive, as of January 1, 2000: Biographical and resource index, A-Z. Arcata, CA: Women in Photography International Archive, 2000.

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Palmquist, Peter E. Bibliography of books by and about women photographers in the collection of the Women in Photography International Archive, as of January 1, 2000. Arcata, CA: Women in Photography International Archive, 2000.

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Palmquist, Peter E. Women in Photography Archive. Arcata, CA: Women in Photography International Archive, 2003.

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The new woman international: Representations in photography and film from the 1870s through the 1960s. Ann Arbor: University of Michigan Press and the University of Michigan Library, 2011.

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Eisenstaedt, Alfred. Eisenstaedt on Eisenstaedt: A self-portrait : photos and text. New York: Abbeville Press, 1985.

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Eisenstaedt on Eisenstaedt: A self-portrait. New York: Abbeville, 1996.

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Eisenstaedt, Alfred. Eisenstaedt on Eisenstaedt: A self portrait. London: B.B.C., 1985.

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Diario. Roma: Castelvecchi, 2014.

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Women photographers: A selection of images from the Women in Photography International Archive, 1852-1997. Iaqua Press, 1997.

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Hershatter, Gail. Women in China's Long Twentieth Century (Global, Area, & International Archive). University of California Press, 2007.

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Book chapters on the topic "Women in Photography International Archive"

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Ehlers, Sarah. "Photography and the Development of Radical Poetics." In Left of Poetry, 27–64. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651286.003.0002.

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This chapter examines Langston Hughes’s overlooked archive of photographs and scrapbooks from his 1931 trip to Haiti, arguing that Hughes’s photographic encounter with Haiti is part of the construction of a transnational vision that starts in the Caribbean and moves through the U.S. South and Mexico. Photography becomes fundamental to Hughes’s attempts to map the connectedness of persons and locales in a capitalist world system and to imagine the formation of political communities. The chapter begins by considering how Hughes’s experience of taking photographs, along with organizing them in albums and scrapbooks, generated questions about the politics of representation in his subsequent political poems. The chapter then extends these considerations to Hughes’s interwar radical verse, showing how Hughes’s encounters with visual objects continue to influence his poetry during the 1930s. The chapter closes by demonstrating how Hughes’s contemplation of the relationship between photography and writing opens up new readings of James Agee and Walker Evans’s foundational documentary text, Let Us Now Praise Famous Men (1941). Hughes’s engagements with photography place him in a developing documentary modernist tradition that pushes beyond New Deal initiatives and employs documentary in the shaping of an international public sphere.
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Van Vleet, Krista E. "Making Images, (Re)Visioning Mothers (a Photography Workshop)." In Hierarchies of Care, 105–31. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042782.003.0005.

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This chapter draws on phenomenological approaches to “dwelling in” and envisioning the world to ask how young women’s participation in photography workshops might offer a window onto the dynamic production of subjectivities (as mothers, or not). In a photography workshop, young women produce retablos, or portraits of themselves as Madonna and child. The chapter juxtaposes the structured activities of a workshop (organized by an international NGO) with more informal use of point-and-shoot digital cameras (which was integrated into this research project). Reflecting on the activity of taking photos, as well as the representational aspects of images themselves, demonstrates girls’ creative expression and experimentation as well as the moral dialogues in which visions of self are embedded.
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Spampinato, Beatrice. "Un caso di studio attraverso le carte d’archivio." In Eurasiatica. Venice: Fondazione Università Ca’ Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-469-1/012.

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On 27th October 1968 the architect Adriano Alpago Novello opened the photography exhibition Armenian Architecture. 4th-18th Century, organised in collaboration with the Department of Humanistic Studies of the Milan Polytechnic University. In light of the documentation of CSDCA’s (Study and Documentation Centre of Armenian Culture) Archive, it is possible to assume the curatorial choices that made this exhibition, which passed by thirty cities of three different continents, a large international success. The paper aims to examine this particular case of study that covers an important step in the overview of the Italian historiography on Armenian art studies.
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Mallick, Krishna. "Common Ground of Feminism and Cultural Relativism in Human Rights Discourse." In The Paideia Archive: Twentieth World Congress of Philosophy, 52–57. Philosophy Documentation Center, 1998. http://dx.doi.org/10.5840/wcp20-paideia199820368.

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Feminists and cultural relativists are highly critical of human rights even if their criticisms have taken two diametrically opposed sides. This has created a conflict between the two groups. In this paper, I summarize the views of feminists and cultural relativists and then show that there are many similarities between them despite their differences, for they share a common ground concerning human rights discourse. Based on the similarities, I believe that both must work together on this matter by making changes in an inclusive way with regard to human rights violations. This is true not only at the international level but also at national levels. To demonstrate this, I analyze the issue of the sex-determination test in India and show that if feminists and cultural relativists joined hands, then the problem of aborting female fetuses in India (due to cultural conditioning and leading to the larger problem of adverse sex ratios) could be resolved. I conclude by proposing that medical technology could be channeled in the direction of progress if feminists and cultural relativists work jointly for the promotion of women's rights by recognizing 'different voices' of women across race, class, age, culture, sexual orientation and wealth.
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De Blij, Harm. "Same Place, Divergent Destinies." In The Power of Place. Oxford University Press, 2008. http://dx.doi.org/10.1093/oso/9780195367706.003.0011.

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Dramatic media pictures of desperate would-be mobals clinging to overcrowded boats, climbing over border fences, or running across unguarded wasteland confirm statistical data: males are in the vanguard of unregulated as well as legal transnational migration. Less graphic photography of the average business-class section of a 747 flying from Los Angeles to Hong Kong would reveal that most of the comfortable globals en route are male as well. But scrutinize a daytime picture of an African or Asian village, and you are likely to notice that among the locals, women outnumber men, whether working in the fields, carrying water or firewood, preparing food, or tending children. If the Earth seems flat, this is far more so for males than for females. Even in the same village, in the same house, the destinies of boys and girls diverge startlingly, and not only in rural villages in the global periphery. Equality of the sexes in employment, income, political influence, and other circumstances is an elusive goal even in the richest countries of the global core. Northern European countries are often cited as having progressed furthest in this respect, but even there, the playing field (for example, in religious hierarchies) is not completely level. Nor does growing wealth guarantee progress in closing the gender gap. Male dominance is a deeply embedded tradition that has a way of trumping fairness: in modern Japan, where women have made significant strides by many measures, the Minister of Health and Welfare in July 2007 publicly referred to the role of women as being “birth-giving machines” (Economist, 2007d). When China in the late 1970s embarked on its economic reforms, one key to success was deemed to lie in bringing its population spiral under control. China’s “one child only” policy had the desired result, but in effect it frequently meant one male child only as tens of millions of pregnancies were aborted to ensure a male heir. Millions more female infants were and are abandoned, giving rise to an international adoption industry that is almost exclusively female. Today, economically booming China has a demographic surplus of some 20 million males, with troubling implications for the future.
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Conference papers on the topic "Women in Photography International Archive"

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Allmark, Panizza. "Making a Difference: Social Media, Photography, Activism and Women in Asian Contexts." In International Conference on Emerging Media, and Social Science. EAI, 2019. http://dx.doi.org/10.4108/eai.7-12-2018.2281801.

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