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Artículos de revistas sobre el tema "Photography of women"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 30 de julio de 2024

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1

Adhitia, Tiara Sekar, M. Kholid Arif Rozaq, and M. Fajar Apriyanto. "Pin Up Style dalam Fotografi Fashion Kontemporer." spectā: Journal of Photography, Arts, and Media 3, no. 1 (August 5, 2019): 61–72. http://dx.doi.org/10.24821/specta.v3i1.3123.

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Fashion becomes a social symbol that gives the cultural identity to a person. Pin up style has existed since the late 1950s. This style which is a combination of urban style and pop culture is identical with a light, tight, and semi-open dress. The image sticking on pin up style fashion makes the women called as "teasing ladies". The chosen genre is contemporary fashion photography that is a genre in photography which aims to show the clothes and other fashion items influenced by the impact of modernization.The result of this final assignment project is a series of fashion photography which us

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2

Göthlund, Anette. "Den omöjliga kvinnligheten." Tidskrift för genusvetenskap 21, no. 3 (June 16, 2022): 65–74. http://dx.doi.org/10.55870/tgv.v21i3.4381.

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Although there are pictures of men and women with erotic or sexual overtones in many visual genres the focus of this article is on fashion images. In our current research project, The Different Worlds of Fashion Images - Fashion Photography as Imagery and Communication, my colleague Anna Tellgren and I have focused on fashion imagery in our culture because it plays such an important role in our everyday visual experience. Moreover fashion photography has a long tradition of creating iconographic conventions in the representation of the female body, which have become a part of our understanding

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3

Alinder, Jasmine. "Displaced Smiles: Photography and the Incarceration of Japanese Americans During World War II." Prospects 30 (October 2005): 519–37. http://dx.doi.org/10.1017/s0361233300002167.

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Historical texts, oral testimony, and scholarship document vividly the incarceration of Japanese Americans during World War II — the loss of private property and personal belongings, and the emotional and psychological suffering, that the imprisonment caused. Yet there is very little visual evidence in the photographic record of incarceration that would attest overtly to these injustices. A photograph on April 1, 1942, by Clem Albers, a photographer for the War Relocation Authority (WRA), depicts three well-dressed young women who have just boarded a train in Los Angeles, which will take them

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4

Schulze Tanielian, Melanie. "Defying the Humanitarian Gaze: Visual Representation of Genocide Survivors in the Eastern Mediterranean." Humanity: An International Journal of Human Rights, Humanitarianism, and Development 14, no. 2 (June 2023): 186–211. http://dx.doi.org/10.1353/hum.2023.a916996.

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Abstract: This article is a critical encounter with the genre of humanitarian photography through the case study of images of women survivors of the Armenian Genocide. Viewing photographs taken as part of the American humanitarian campaign in the Eastern Mediterranean, the article exposes the universalizing modality of humanitarian photography while exposing mass atrocities as perpetuating the silencing of victims by reducing them to symbols of suffering. Through an indexical, forensic, and critical fabulatory engagement with the humanitarian photograph, the article aims to unsettle the univer

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5

Lee, Christopher J. "Durban Moments." Nka: Journal of Contemporary African Art 2023, no. 53 (November 1, 2023): 138–51. http://dx.doi.org/10.1215/10757163-10904160.

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This essay reviews a series of photographs by South African photographer Omar Badsha exhibited as part of Sharjah Biennial 15 (SB15). Collectively entitled Once We Were Warriors: Women and Resistance in the South African Liberation Struggle (1981–1999), the thirty-one images selected for SB15 highlight the role of women as political activists during the 1980s and 1990s across South Africa. The essay discusses Badsha’s biography and approach to photography, in addition to appraising the images themselves.

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6

SHARANYA. "An Eye for an Eye: the Hapticality of Collaborative Photo-Performance in Native Women of South India." Theatre Research International 44, no. 02 (July 2019): 118–34. http://dx.doi.org/10.1017/s0307883319000014.

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This article examines the haptic politics of the Native Women of South India: Manners and Customs (2000–2004) ‘theatre museum’ composed by Indian performance artist Pushpamala N. and British photographer Clare Arni. Through a transnational collaboration, Native Women re-creates a visual genealogy of ‘popular’ Indian women images, reckoning with legacies of colonial and photographic studio photography. The article focuses on the engagements of Native Women with colonial representations of ‘the native’ (woman) in particular and asks: How does a transnational project resituating colonial ethnogra

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7

Vorontsova, T. A., and A. G. Artamonova. "Face VS Figures: Features of Constructing the Age of an Unfamiliar Person Based on the Perception of His Portrait and Height Photographs." Experimental Psychology (Russia) 16, no. 3 (October 27, 2023): 34–52. http://dx.doi.org/10.17759/exppsy.2023160303.

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<p>The aim of the work was to identify the features of constructing the age of an unfamiliar person based on the perception of his face (portrait photography) and physique (height photography). The main method was the procedure of "Photovideopresentation of the appearance" by T.A. Vorontsova. Photographs of four women and four men of different ages were presented to the subjects of perception for age assessment; the eye movements of the subjects of perception were tracked using the Gazepoint GP3 Eye Tracker. The sample of perception subjects included 76 people &mdash; 38 men (M=28.84

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8

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 politi

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9

Kelly, Marjorie, and Sara Essa Al-Ajmi. "From Invisible to Actualized: Imagery and Identity in Photos of Women in the Gulf." Hawwa 19, no. 1 (February 22, 2021): 51–75. http://dx.doi.org/10.1163/15692086-bja10017.

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Abstract After reviewing how Middle Eastern women have been photographed historically, the paper explores how contemporary Gulf women represent themselves, both behind and in front of the camera. Initially, women were invisible, then eroticized or exoticized in Orientalist photography, only to appear in early twentieth-century family portraits as both the repository of cultural values and as the new, modern woman. The reaction of contemporary Gulf female photographers to perceptions of themselves as jobless, nameless, faceless, and voiceless is presented in examples of art photography-cum-poli

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10

Castillo Troncoso, Alberto del. "X’oyep’s Women: History, Memory, and Photography." Mexican Studies/Estudios Mexicanos 39, no. 2 (2023): 271–301. http://dx.doi.org/10.1525/msem.2023.39.2.271.

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This article revisits one of the most iconic moments in the recent history of photojournalism in Mexico: the Zapatista uprising at Chiapas in 1994. Throughout the essay, the publication of Pedro Valtierra’s famous photograph of a group of women who bravely confronted the Mexican Army on January 3, 1998, which immediately obtained international recognition, is reviewed, followed by an analysis of the photographer’s work, as well as the historical context within which the images depicted are situated. Through the analysis of photographs, combined with the narrated experiences of the photojournal

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11

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

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12

Currie-Williams, Kelann. "Makers and Keepers: Two Lives, through Photographs." Canadian Journal of History 56, no. 3 (December 1, 2021): 292–319. http://dx.doi.org/10.3138/cjh.56-3-2021-0044.

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Looking through the pages of family photo albums or the folders of photographic archival fonds can only be described as holding history in your hands. Whether it is in the form of colour or black and white prints, negatives, or slides, these photo-objects carry histories of lives lived that go beyond their frames. Focusing on a set of oral history interviews conducted with two Black women living in Montréal — a community photographer or image “maker” who was most active during the 1970s–1990s and a photo-collector or “keeper” who is currently active in preserving and sharing photographs for he

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13

Ellis, Jacqueline. "Revolutionary Spaces: Photographs of Working-class Women by Esther Bubley 1940–1943." Feminist Review 53, no. 1 (July 1996): 74–94. http://dx.doi.org/10.1057/fr.1996.18.

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This article had several purposes. First, I wanted to highlight the work of Esther Bubley, an American photographer whose documentary work for the Farm Security Administration and the Office of War Information in the early 1940s is largely unknown. Second, I wanted to show how her images complicated and undermined the traditional themes of Depression era photography in the United States, Third, by looking at her images of women, my intention was to reveal how she worked against depictions of femininity during the Depression, and in confrontation with one-dimensional portrayals of women as Amer

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14

Jodliński, Leszek. "‘And I still see their faces…’: Wilhelm von Blandowski’s photographs from the collection of Museum in Gliwice." Proceedings of the Royal Society of Victoria 121, no. 1 (2009): 155. http://dx.doi.org/10.1071/rs09155.

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Wilhelm von Blandowski (1822-1878) was born in Gleiwitz, Prussia (now Gliwice, Upper Silesia, Poland). From 1862 through 1868, Wilhelm von Blandowski may have taken up to 10, 000 photographs. Though only a portion of his photographic accomplishment has been preserved, the existing photographs provide an insight into their content and character, as well as providing us with the better understanding of the work of their author. The main emphasis in the paper will be on Blandowski’s photographs presently in the collections of Museum in Gliwice. It will focus on his portraits with reference to som

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15

García Ranedo, Mar. "Entre la fotografía documental y la fotografía callejera: marginalidad y género." Laocoonte. Revista de Estética y Teoría de las Artes, no. 5 (December 13, 2018): 181. http://dx.doi.org/10.7203/laocoonte.0.5.12406.

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Resumen Con este artículo, propongo un acercamiento analítico a dos series de fotografías, Pulsaciones y Utterances, de la que soy autora, que cuestionan el estatus fotográfico de la imagen y que ayudan a definir las diferencias y paralelismos entre lo entendido por fotografía documental y fotografía callejera. Ambas series se establecen a partir de fotografías “robadas” que persiguen visibilizar a la mujer y sus modos de ocupar el espacio público desde prácticas ciudadanas que revelan problemáticas de equidad y diferencia en relación al género. Con esta aproximación conceptual, dichas s

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Travassos, Lorena. "The Brazilian woman: from the colonial photography to contemporary Portuguese photography." Comunicação e Sociedade 32 (December 29, 2017): 169–89. http://dx.doi.org/10.17231/comsoc.32(2017).2756.

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This study aims to carry out an initial analysis of how the Brazilian woman image is shaped by a discourse that is historically constructed and reinforced by colonial photography. This visuality has endured through the ages and represents a form of contemporary colonialism, as it is characterized by an identity reductionism disguised as a global ideology. The possibility of paradox prevalence in these speeches is analyzed through a critical view of the work of André Cepeda and Miguel Valle de Figueiredo, Portuguese photographers who has produced photography artwork about the Brazilian woman. I

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17

Nava, Mica. "The Woman in My Life: Photography of Women." Feminist Review, no. 36 (1990): 42. http://dx.doi.org/10.2307/1395108.

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Nava, Mica. "The Woman in My Life: Photography of Women." Feminist Review 36, no. 1 (November 1990): 42–51. http://dx.doi.org/10.1057/fr.1990.44.

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19

Lin, Chyong-Ling, Jin-Tsann Yeh, and Pei-Chen Lan. "A Coming-Out Party for Women: Empowerment Through Bridal Photography." Social Behavior and Personality: an international journal 40, no. 2 (March 1, 2012): 339–51. http://dx.doi.org/10.2224/sbp.2012.40.2.339.

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A wedding is a part of a series of ceremonies and image construction events designed to create the ideal. Bridal photographs no longer show newlyweds and their families in rigid poses. Diverse wedding costumes, modeling, and visual consumption aesthetics can overwhelm the newlyweds as they become the critical focal point in a strategy of product differentiation. Instead, personalized and entertaining visual consumption has become very popular. In this study the consumers of bridal photography and bridal salons are the target population; we probe the aesthetic values on which are based the evol

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20

Bojanić, Sanja, Jelena Ćeriman, and Sara Nikolić. "Upotreba foto-elicitacije u sociologiji." Revija za sociologiju 53, no. 3 (December 31, 2023): 429–57. http://dx.doi.org/10.5613/rzs.53.3.4.

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In sociological research, photography is most commonly used to supplement presented data and less frequently as a data collection technique. This paper focuses on using photography to examine the gender aspect of poverty in rural areas of Serbia. Through the application of photo-elicitation, data were collected in field research during 2015 in Serbia. The data include photographs taken by girls and women beneficiaries of social services. Additionally, they incorporate the notes on the motives and interpretation of the photographs taken, along with transcripts of interviews conducted with the p

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21

Young, Cynthia. "Rochester’s Women and Photography Conference." Afterimage 26, no. 1 (July 1998): 2–3. http://dx.doi.org/10.1525/aft.1998.26.1.2.

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22

Goncharova, Natalia N., and Alexandra A. Castro Stepanova. "On the possibility of using anthropological photography to determine linear facial dimensions. Methodical article." Moscow University Anthropology Bulletin (Vestnik Moskovskogo Universiteta. Seria XXIII. Antropologia), no. 3 (September 14, 2021): 17–26. http://dx.doi.org/10.32521/2074-8132.2021.3.017-026.

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Three samples were analyzed – the population of central Chile (175 men and 55 women), the indigenous population of Altai (38 men and 67 women) and the Russians of Altai (52 men and 42 women). The collection of material took place in two stages: working directly with the subject and working with photographs. Measurements of the parameters of the head and face of the subjects in the field in both cases were carried out according to the classical method of V.V. Bunak, adopted in the Russian anthropometric school. Photographing in portrait and in profile was carried out taking into account the rec

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23

Ryzova, Lucie. "Boys, Girls, and Kodaks." Middle East Journal of Culture and Communication 8, no. 2-3 (2015): 215–55. http://dx.doi.org/10.1163/18739865-00802005.

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This essay looks at a little studied genre of photographic albums—‘peer albums’—created by young Egyptian men and women through the middle decades of the twentieth century. These strongly gendered albums are characterized by the visual exclusion of social seniors, and were typically kept hidden from them. As photographic objects embedded in particular social relationships and contexts, these albums speak of how a classed and gendered self emerged in early- to mid-twentieth-century Egypt through a range of practices, of which photography-making (and album-making) was part. But photography also

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Raymond, Claire. "Can there be a feminist aesthetic?" Comunicação e Sociedade 32 (December 29, 2017): 45–57. http://dx.doi.org/10.17231/comsoc.32(2017).2750.

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Can there be a feminist aesthetic?” analyzes the difficulty of finding an ontological position from which to write about photography created by women. It interrogates the discomfort of inhabiting, socially, and in art and literature, the position of the embodied feminine, and seeks through aesthetic analysis to mine this discomfort. The essay argues that despite the social and intellectual discomfort of articulating a space of the feminine, in that this space is always already coded as oppressed, there is a value in interpreting photography created by women through the lens of feminist resista

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Mykytka, Iryna, and Isabel Balteiro. "Painting with words: describing women in photography." Feminismo/s, no. 38 (July 13, 2021): 149. http://dx.doi.org/10.14198/fem.2021.38.06.

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This study aims to identify and explore the linguistic devices used to describe women in photography, and the similarities and differences between women and men’s descriptions. Nowadays, digital photographs are often accompanied by text such as titles, descriptions, comments, or tags. Though the language used in social media has largely been explored in relation to different fields of knowledge and from different perspectives, to the best of our knowledge, there is no work dealing with the language used by professional photographers to describe women and men. In order to carry out the study, w

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Kazakevych, Gennadii. "Memory Factories: Professional Photography in Kyiv, 1850-1918." Text and Image: Essential Problems in Art History, no. 1 (2020): 82–101. http://dx.doi.org/10.17721/2519-4801.2020.1.06.

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The article deals with the early history of photographic industry in Kyiv as a complex cultural phenomenon. Special attention is focused on the portrait photography as a ‘technology of memory’. It involves methods of social history of art, prosopography and visual anthropology. The study is based on the wide scope of archival documents, including the correspondence of publishing facilities inspector, who supervised the photographic activity in Kyiv from 1888 to 1909. By the early 20th century, making, collecting, displaying and exchanging the photographic portraits became an important memorial

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Struk, Janina. "images of women in holocaust photography." Feminist Review 88, no. 1 (April 2008): 111–21. http://dx.doi.org/10.1057/palgrave.fr.9400378.

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28

Ilma and Yudhi Andoni. "Representasi Dan Identitas Perempuan Minangkabau Dalam Fotografi Masa Kolonial Tahun 1900-1942." Musãwa Jurnal Studi Gender dan Islam 23, no. 1 (June 22, 2024): 1–21. http://dx.doi.org/10.14421/musawa.2024.223.1-21.

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Artikel ini menjelaskan bagaimana representasi dan identitas perempuan Minangkabau dalam periode kolonial tahun 1900-1942 melalui analisis fotografi. Tulisan ini mengkaji bagaimana fotografi sebagai medium visual tidak hanya merekam tetapi juga membentuk persepsi dan representasi tentang perempuan Minangkabau oleh masyarakat kolonial dan bumiputera. Melalui tinjauan terhadap koleksi foto-foto yang diambil oleh fotografer kolonial, artikel ini akan menyoroti berbagai aspek kehidupan perempuan, termasuk modernitas, gaya hidup, peran sosial, adat istiadat, dan dinamika keseharian mereka dalam kon

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Baskara, Dio Nanda. "PREMENSTRUAL SYNDROME DALAM FOTOGRAFI EKSPRESI." spectā : Journal of Photography, Arts, and Media 4, no. 1 (December 16, 2020): 41–50. http://dx.doi.org/10.24821/specta.v4i1.3760.

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Premenstrual Syndrome is a symptom experienced by women before menstruation arrives. Many stories in the form of complaints from female friends. Based on this, ideas emerged to create photographic works of expression about the effects of Premenstrual Syndrome that were packaged with anaglyph technique. The impact to be visualized is a physical, psychological, and emotional symptom in the period before and until menstruation is over. Premenstrual syndrome information that has been collected through observation will be displayed visually by the medium of photography and using the object of a pro

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Flores, Teresa Mendes. "Maria Pia fecit / By Maria Pia: the observed and the observer. Some reflections on gender issues considering the case of Queen Maria Pia, the photographer." Comunicação e Sociedade 32 (December 29, 2017): 123–45. http://dx.doi.org/10.17231/comsoc.32(2017).2754.

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his article discusses some aspects of the status of women amateur photographers during the turn of the 19th to 20th centuries, considering the case of the Portuguese Queen Maria Pia of Savoy (1847-1911). We acknowledge the difficulties of making the historiography of women photographers in Portugal, due to the scarcity of sources and archives, and the lack of questions about these absences and their reasons. These facts have contributed to a history of photography in Portugal that consists of a succession of male names of “great photographers”. Asking questions about “the other half”, as well

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Wanczyk, David. "FRAMING GERTRUDE: PHOTOGRAPHIC NARRATION AND THE SUBJECTIVITY OF THE ARTIST-OBSERVER IN LEVY’STHE ROMANCE OF A SHOP." Victorian Literature and Culture 43, no. 1 (February 6, 2015): 131–48. http://dx.doi.org/10.1017/s1060150314000382.

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In Amy Levy's 1888 novel,The Romance of a Shop, four orphaned sisters, the Lorimers, open a photography studio in London and struggle to find business and a balance between free expression and propriety. Certainly, the sisters’ commercial involvement with photography can be read as artistic and unconventional for women of the time, but their position as artist-observers sometimes seems to relegate them to a space behind the lens and behind the window that divides their apartment from the society they look out upon. It is from that position as photographer-observer that Gertrude, the most intro

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West, Caroline. "The Lean In Collection: Women, Work, and the Will to Represent." Open Cultural Studies 2, no. 1 (November 1, 2018): 430–39. http://dx.doi.org/10.1515/culture-2018-0039.

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Abstract In February 2014, Getty Images, the largest international stock photography agency, and LeanIn. org, Facebook COO Sheryl Sandberg’s women’s empowerment foundation, announced a new partnership that aimed to change the way women are portrayed in stock photography. The “Lean In Collection” with Getty seeks to challenge visual gendered stereotypes ascribed to both sexes in the daily life of work, home, and family life in advertising imagery. While the overarching ambition of gender empowerment implicit in the mission of Lean In is a worthwhile goal, I look to the problematic relationship

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Wulandari, Arti, and Zulisih Maryani. "FOTOGRAFI POTRET WANITA PENAMBANG PASIR DFOTOGRAFI POTRET WANITA PENAMBANG PASIR DI LERENG SELATAN GUNUNG MERAPI, DAERAH ISTIMEWA YOGYAKARTA." REKAM: Jurnal Fotografi, Televisi, dan Animasi 13, no. 1 (September 14, 2017): 53. http://dx.doi.org/10.24821/rekam.v13i1.1578.

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Ketegaran dan kesabaran yang luar biasa, sebagai sesama wanita, dari para wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta menjadi inspirasi bagi penulis untuk diungkapkan dalam karya fotografi dengan bentuk potret hitam putih karena potret bisa mewakili keadaan sebenarnya dari objek. Penciptaan ini bertujuan mengungkapkan kehidupan wanita penambang pasir di Lereng Selatan Gunung Merapi, Daerah Istimewa Yogyakarta dalam fotografi potret hitam putih dikaitkan dengan aspek teknis kreatif dan fungsi nilai sosialnya.Proses perwujudan mencakup tahap-tahap penciptaa

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PEATE, AILSA. "‘El narco está de moda’: Corporeality, Gender Violence and Narcoculture in Culiacán, Sinaloa." Bulletin of Hispanic Studies 100, no. 10 (November 2023): 1027–51. http://dx.doi.org/10.3828/bhs.2023.70.

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This article considers how the figure of the buchona can be seen as another form of victimization for women in north-western Mexico. It focuses on previous representations of gender violence by the photographer Mayra Martell in her photography series Ensayo de la Identidad (2005–2020) and her more recent project Buchonas (2017–2023), composed of six items, including the photography book Culichi Town (2018) and the playing/ collectors’ cards, Plebes (2019). This article argues that visible femininity associated with certain (often prosthetic) beauty standards can be considered a victim of a hyp

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Zanco, Amanda. "Women Without a Nation." Stream: Interdisciplinary Journal of Communication 13, no. 1 (November 5, 2021): 85–95. http://dx.doi.org/10.21810/strm.v13i1.295.

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Photography has the ability to provoke ethical reflection and to provide an emotional connection to the reality of individual suffering (Hariman & Lucaites, 2016). Therefore, given the remarkable importance of visual communication in covering humanitarian crises, this short paper aims to problematize humanitarian photography practice and reflect on alternative ways of framing representations of refugee women’s life experiences outside mainstream media. Thus, I propose here an initial conversation regarding my doctoral research that focuses on self-representation of refugee women. I aim to

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Mountfort, Paul. "Defending the Candid Gaze: Theory, the Archive, and Depolicing Street Photography." Journal of Asia-Pacific Pop Culture 9, no. 1 (July 2024): 4–27. http://dx.doi.org/10.5325/jasiapacipopcult.9.1.0004.

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Abstract Since practically the dawn of photography, there have been concerns over street photography’s invasive and potentially exploitive nature, from late nineteenth-century tropes of pests and “sneaky characters” trailing women in public parks to more recent panics over “camera fiends” and even state security warnings of the need to be vigilant of photographers potentially casing infrastructure for terrorist attacks. This article argues, using potted history and critical theory, that such straw-man arguments distract from the real dangers that the policing and curtailment of public photogra

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Darmon, Chloé. "Abandoned wash-houses. Archiving wash-women practices in Oporto modern urban space." Sophia Journal 6, no. 1 (January 12, 2022): 154–69. http://dx.doi.org/10.24840/2183-8976_2021-0006_0001_17.

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This visual essay shows the relationship between urban analysis and the use of archival images. Firstly, the research process for the realization of this work will be explained, in which photography is an important tool to understand the urban morphology and help to complete and document the theoretical part of my master thesis Inhabiting Water, Public Wash-houses of Oporto: an experience of women in modern city (2020) - which is a theoretical-practical work. Secondly, the historical dimension of the public wash-houses construction will be discussed, showing the invisibility of women in urban

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Stoll, Mareike. "Don’t Judge a Book by Its Cover: Aenne Biermann’s 60 Photos." AM Journal of Art and Media Studies, no. 28 (September 15, 2022): 1–14. http://dx.doi.org/10.25038/am.v0i28.515.

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“A child’s hands” was chosen as the cover image for a monograph by photographer Aenne Biermann (1898–1933), published in Weimar Germany (1930) as part of a small series of paperback publications edited by Franz Roh and Jan Tschichold. Volume 1 of the same series, also published in 1930, was dedicated to photography by László Moholy-Nagy, who in a different context had advocated for photographic literacy. Even though Biermann was published amongst the forerunners of the New Vision, as evidenced by her photobook 60 Photos, she had been forgotten for a long time. By calling attention to her photo

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Zrull, Lindsay Smith. "Women in Glass: Women at the Harvard Observatory during the Era of Astronomical Glass Plate Photography, 1875–1975." Journal for the History of Astronomy 52, no. 2 (May 2021): 115–46. http://dx.doi.org/10.1177/00218286211000470.

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Starting in the late 19th century, the Harvard Observatory hired women to study stars via the Astronomical Photographic Glass Plate Collection. Some of these women—such as Annie Jump Cannon, Henrietta Leavitt, and Cecilia Payne-Gaposchkin—made discoveries that changed astrophysics forever. However, they were far from the only women working at the Harvard Observatory during the era of astronomical glass plate photography. Historically, most of these women have been anonymous. The names found on over 400,000 glass plate envelopes were compiled into a list of all the women who left their mark on

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Abdul Rahman, Muhammad Azri, and Nadzri Mohd Sharif. "A Constructive Comparison Framework for Colour Vision Deficiency Photographer in Digital Photography." International Journal of Art and Design 7, no. 1 (May 7, 2023): 89–105. http://dx.doi.org/10.24191/ijad.v7i1.1101.

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Color vision deficiency (CVD) is the most common inherited disorder, with 1 in 20 men and 1 in 200 women affected. This situation ultimately gives disadvantages to photographers in digital photography. Individuals who suffer from CVD are unable to relish art since they are confused with objects and their colors. As a necessary consequence, researchers developed a constructive framework to improve CVD photographer visions by incorporating techniques of HSx (Hue, Saturation, Brightness), Contour Adjustment, Interpretation Process into photography. The impact of CVD towards digital photography fr

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Fitzgibbon, Wendy, and Camille M. Stengel. "Women's voices made visible: Photovoice in visual criminology." Punishment & Society 20, no. 4 (March 28, 2017): 411–31. http://dx.doi.org/10.1177/1462474517700137.

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The voices of women subject to the criminal justice system are often ignored and unheard. This article considers the effectiveness of photovoice, a form of participatory photography research, as a visual method of enabling and communicating marginalised women’s experiences in criminological research. By utilising the potentially empowering technique of photovoice in two research projects, the narratives of women who inject drugs in Hungary and women who have experienced supervision in England are conveyed through their own participant-generated photographs. These images convey the pains and as

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Brower, Matthew. "Photography, Curation, Affect." Journal of Visual Culture 17, no. 2 (August 2018): 177–97. http://dx.doi.org/10.1177/1470412918782354.

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This article explores the implications of photographic affect for curatorial practice by examining the exhibition Through The Body: Lens-Based Work by Contemporary Chinese Women Artists (Art Museum at University of Toronto, 2014). The author focuses on the curatorial task of situating the work of three of the artists, Chen Zhe, Fan Xi and Chun Hua Catherine Dong that employs affect in related but potentially incompatible ways. Chen’s visceral series The Bearable documents her practices of cutting as an attempt to overcome shame and begin healing. Fan’s portraits of topless Chinese lesbians use

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Ugalde, Sharon Keefe. "Photographing Ophelia: Myth and Concept in Eugènia Balcells’s Ophelia (variacions sobre una imatge)." Letras Femeninas 41, no. 2 (November 1, 2015): 35–45. http://dx.doi.org/10.2307/44735028.

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Abstract This essay examines the groundbreaking work of Catalan art photographer Eugènia Balcells’s 1979 black and white series, Ophelia (variacions sobre una imatge) as an act of feminist re-appropriation of one of the most popular subjects of Victorian painting and early photography. Baleei Is reclaims the canonical literary character by reproducing John Everett Millais’s famous Ophelia (1852) in 37 black-and-white photocopies, then manipulating each of the images in ways that both reveal and resist the patriarchal constructs that informed earlier artists’ view of Shakespeare’s heroine as su

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Troeller, Jordan. "Lucia Moholy's Idle Hands." October 172 (May 2020): 68–108. http://dx.doi.org/10.1162/octo_a_00393.

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At the time that she was affiliated with the Bauhaus, Lucia Moholy took a series of photographs at the nearby feminist commune of Schwarze Erde (also known as Schwarzerden), which was founded in 1923 by the poet Marie Buchhold and the pedagogue Elisabeth Vogler (and counted among its members Tilla Winz and Ilse Hoeborn). These photographs focus our attention on androgynous hands engaged in prosaic domestic tasks, as well as on the bodies of women and children involved in the commune's radical pedagogy of renewed bodily movement. The centrality of these images in Schwarzerden's publicity materi

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Lin, Xuannan. "Feminine Body Writing in Untitled Film Stills." Lecture Notes in Education Psychology and Public Media 3, no. 1 (March 1, 2023): 516–22. http://dx.doi.org/10.54254/2753-7048/3/2022576.

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With the rise of postmodernism in the Western world, the development of feminism has gradually revealed the characteristics of postmodernism. Among them, feminine body writing is a good example. However, the academia does not pay much attention to body writing in photography art, which gives some research space for this paper. Therefore, this paper studies Cindy Shermans Untitled Film Stills and uses the theory of feminine body writing which is proposed by Hlne Cixous in The Laugh of the Medusa to explore what Sherman wants to suggest about feminism in Untitled Film Stills. The study has shown

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Ψαροπούλου, Αθηνά. "ΑΘΗΝΑ ΨΑΡΟΠΟΥΛΟΥ, "Σαν μια νεάνις που φορεί πλατύ φουστάνι": Η εμπειρίκεια επιφάνεια ως σύνθεση μνήμης και φωτογραφίας". Σύγκριση 31 (28 грудня 2022): 99–107. http://dx.doi.org/10.12681/comparison.29873.

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“Like a young woman in a loose-fitting dress”: The epiphany of Andreas Embiricos as fusion of memory and photography This paper attempts to shed light on the significance and role of the four “epiphanies of the past recaptured”, which are an integral part of the “analysis” of the poem “8th January 1942” by Andreas Embiricos and derive from the verbal image of the verse “Like a young woman in a loose-fitting dress”. In these epiphanies, time becomes fluctuant and the memory of the past (specifically the memory of four exceptional women-muses of important surrealist creators) is fused with the p

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Surahman, Sigit. "OBJEKTIVIKASI PEREMPUAN TUA DALAM FOTOGRAFI JURNALISTIK Analisis Semiotika pada Foto-Foto Pameran Jalan Menuju Media Kreatif #8." REKAM: Jurnal Fotografi, Televisi, dan Animasi 14, no. 1 (August 15, 2018): 41. http://dx.doi.org/10.24821/rekam.v14i1.2136.

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Penelitian ini berfokus pada objektivitas perempuan tua dalam fotografi jurnalistik. Objektivikasi perempuan adalah objek yang menarik karena menjadi sebuah fenomena dalam kehidupan masyarakat. Hampir di setiap media massa, perempuan diposisikan sebagai pelengkap dunia laki-laki. Paras cantik dan keindahan lekuk tubuh perempuan dijadikan sebagai objek seksual. Lain halnya dalam karya fotografi pada pameran “Jalan Menuju Media Kreatif #8”. Dengan analisis deskriptif interpretif berparadigma kritis, penelitian ini bertujuan mendeskripsikan dan menginterpretasikan data yang bersangkutan dengan ob

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Pope, Natalie. "Mina Loy, twentieth-century photography, and contemporary women poets." Feminist Modernist Studies 3, no. 3 (September 1, 2020): 310–12. http://dx.doi.org/10.1080/24692921.2020.1821478.

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Leventon, Melissa, and Dale Carolyn Gluckman. "Modernity Through the Lens: The Westernization of Thai Women’s Court Dress." Costume 47, no. 2 (June 1, 2013): 216–33. http://dx.doi.org/10.1179/0590887613z.00000000025.

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Photography came to Thailand in the mid-nineteenth century and was adopted first by King Mongkut (Rama IV, r. 1851–1868) and subsequently by his son King Chulalongkorn (Rama V, r. 1868–1910). Earlier reigns had forbidden the creation of images of the king. However, King Mongkut, eager to demonstrate that Siam was a modern state on the world stage, willingly sat for daguerreotype portraits modelled after those of European royalty. These were distributed to foreign visitors to the Thai court and sent as gifts to Western heads of state. King Chulalongkorn, who became an enthusiastic patron of pho

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Bryanton, Olive, Lori Weeks, Elizabeth Townsend, William Montelpare, Jessie Lees, and Lyndsay Moffatt. "The Utilization and Adaption of Photovoice With Rural Women Aged 85 and Older." International Journal of Qualitative Methods 18 (January 1, 2019): 160940691988345. http://dx.doi.org/10.1177/1609406919883450.

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Photovoice is a qualitative research method that can have very positive outcomes, including making marginalized populations visible. Yet we found that traditional Photovoice methods were not fully effective and needed to be adapted with women aged 85 and older in rural Prince Edward Island, Canada. Concerns that required adaptation were time constraints for the researcher and participants, taking appropriate photographs, balancing power between researcher and participants, and ensuring that the women’s voices were heard and presented clearly for them and their communities. Our purpose in this

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