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This volume addresses new theoretical approaches in visual and memory studies that prompted to rethink of the photography of Russian Turkestan of the nineteenth and early twentieth centuries. Attempts to relate the visual unknown documentations to postcolonial criticism also opened up new interpretive arenas, helping to decentralize the analysis of the history of photography.00The aim of this volume is to interpret photography as a specific tool that reifies reality, subjectively frames it, and fits it into various political, ideological, commercial, scientific, and artistic contexts.00Without reducing the entire argument to the binary of ?photography and power?, the authors reveal the different modes of seeing that involve distinct cultural norms, social practices, power relations, levels of technology, and networks for circulating photography, and that determined the manner of its (re)use in constructing various images of Central Asia.00The volume demonstrates that photography was the cornerstone of imperial media governance and discourse construction in colonial Turkestan of the tsarist and early Soviet periods. The various cases show the complex mechanisms by which images of Turkestan were created, remembered, or forgotten from the nineteenth until the twenty-first century.00The book should appeal to scholars of the Russian Empire and Central Asia; of history of photography and visual culture; of memory studies. It should be appropriate for use in upper-level undergraduate courses, and even a broader public.

Documentary photography.

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Focuses on the intersections between text and photography in the twentieth-century American photo-textThis critical study of the American photo-text focuses on the interaction between text and images in twentieth-century American photography as well as the discourse surrounding image-text collaboration on a wider level. In looking at books designed as collaborative efforts between writers and photographers and by photographer/writers adding their own narrative text, it establishes the photo-text as a genre related to and yet distinct from other documentary efforts.Ranging from documentary studies in the 1930s to post-war examinations of the American landscape, urban and rural, from Dorothea Lange’s photographs of dispossessed migrants in American Exodus (1939), Weegee’s small time hoodlums on the streets of New York in Naked City (1945), to Robert Frank’s Cold War landscapes, this survey constitutes an invaluable entry into how we read the politics of twentieth-century American photography.Key FeaturesExplores through a series of case studies some of the seminal photo-texts of the 1930s, 40s and 50s from documentary realism of the Depression years to post-war studies of the American landscapeExamines photo-texts by Doris Ulmann, Walker Evans, James Agee, Dorothea Lange, Margaret Bourke White, Wright Morris, Paul Strand, Roy DeCarava and Robert FrankEnables students and scholars of both American photography and literature to rethink the intersections between writing and photography in political as well as aesthetic termsSituates the various case studies with reference to the political, social and economic developments of the periodRe-establishes the book form as particularly crucial for an understanding of American Documentary photography

Documentary photography --- History

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Photography --- documentary photography --- staged photographs

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In 2022, two European cultural institutions, the Centre national de l’audiovisuel (CNA) in Luxembourg and the Kaunas Photography Gallery in Lithuania, joined forces to create a collaborative project that brought together a group of international artists to explore the notion of humanist photography. Twenty-three artists, four authors, three mentors and one designer (Nicolas Polli) were invited to be part of this crossing borders project. The project took the form of two separate residencies held at the Kaunas Photography Gallery and the CNA during May and June 2022. Led by Jim Goldberg in Kaunas, Emma Bowkett and Naoise O’Keeffe in Dudelange, the residencies provided a platform for an exchange of ideas and discussions about the artists’ work: how their work relates to today’s world and how contemporary photographers can still find meaningful and inventive ways to present what it means to be human. These themes were grown and developed from the discussions, with additional involvement from critics and curators, along with access to the collections and cultural networks of the Centre national de l’audiovisuel and the Kaunas Photography Gallery. As a result, the project culminated in the production of a trilingual publication (will be published end of November 2022).

Some of CNA’s most emblematic collections and commitments at Kaunas Photography Gallery are historically linked to humanist photography, a documentary style focusing on ordinary people in everyday situations. It is an approach most famously associated in Europe with such photographers as André Kertész, Robert Doisneau and the Magnum co-founder Henri Cartier-Bresson. The CNA holds the seminal exhibition ‘The Family of Man’, curated by Edward Steichen for the New York Museum of Modern Art in 1955, which is regarded as a manifesto for peace and the fundamental equality of mankind expressed through the humanist photography of the post-war years. In Lithuania, the humanist vision has been central to the way the country has recorded and preserved its sense of national identity, especially during the period of Soviet occupation when the country’s unique character, environment and way of life were threatened with destruction. 

The publication 'H – The Notion of Humanist Photography' brings together over 23 multifaceted artistic positions and includes four extensive essays as well as numerous texts about the artist’s works. This ensemble creates a multi-faced framework that places the notion of humanist photography at its center and allows to delve deeper into different aspects and perspectives.

Sociology of culture --- Photography --- humanism --- documentary photography

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Colonisation. Decolonisation --- Photography --- documentary photography --- dekolonisatie --- anno 1800-1999 --- Congo