Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"A richly illustrated and yet scholarly account of the way assorted artists used the medium of documentary photography in California in the 1970s and 80s"--

Documentary photography --- History --- Los Angeles (Calif.)

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"A museum is obliged to continually examine and question its collection. This certainly applies to the Nederlands Fotomuseum with its collection of more than six million images, the oldest of which dates from 1842 and the youngest from last year. How fortunate that we are not on our own, and that we can rely on researchers and artists to bring our rich collection into the present with their unique perspective. Andrea Stultiens is such an artist-researcher. For years she has studied the legacy of Paul Julien (1901-2001). Julien became famous with the travels he made to equatorial Africa between 1932 and 1962. These trips resulted in extensive photo and film reports, which were extremely popular at the time. Julien's archive resides in the Nederlands Fotomuseum and in the Eye Film Museum. The images are extraordinary in their variety and consistent quality. At the same time, they are problematic. The image that Julien sketched of 'the African' was strongly influenced by Western colonial views. He also used controversial methods such as blood tests and (skull) measurements to investigate relationships between people of short height. Since 2012, Andrea Stultiens has been researching Paul Julien's archive and imbuing it with new perspectives. In her project Reframing PJU, whose title refers to the archive code of Julien's work, she seeks answers to questions such as: 'To what extent are the photographs valuable or problematic for the descendants of the people portrayed in them and their communities?' And: 'What can we in the Netherlands learn about our ideas about 'Africa' by listening to what people whose heritage can be seen in the photos have to say about it?'"--Page 4 of cover.

Photography in ethnology --- Documentary photography --- Julien, Paul, --- Travel

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Ernest Cole, photographe sud-africain, fut le premier à exposer au monde entier les horreurs de l’apartheid.Ayant fui l’Afrique du Sud en 1966, il publie à New York House of Bondage alors qu’il n’a que vingt-sept ans.Son livre, témoignage de l’apartheid, est interdit dans son pays. Apatride, Ernest Cole vit à New York une existence solitaire. Il photographie ses contemporains, observe la ville mais n’y trouvera jamais ses repères. Il meurt en 1990, abandonné de tous, sans avoir revu son pays. En 2017, plus de 60 000 de ses négatifs et photos, pour la plupart inédits, sont mystérieusement « découverts » dans les coffres d’une banque suédoise.À travers ces extraordinaires photos d’Afrique et d’Amérique, Raoul Peck raconte les errances, les tourments d’artiste et la colère d’Ernest Cole face au silence ou à la complicité du monde occidental devant les horreurs du régime de l’apartheid et de la ségrégation raciale aux Etats-Unis.

Documentary photography --- Street photography --- Cole, Ernest, --- Cole, Ernest

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

State of Emergency - Harakati za Mau Mau kwa Haki, Usawa na Ardhi Yetu is an ongoing documentary project in collaboration with Mau Mau war veterans and Kenyans who survived colonial atrocities. In the form of in-person reenactments, or 'demonstrations', together they (re)visualise the fight for independence from British colonial rule in the 1950s, manifesting their past experiences in the present with a future audience in mind. With most of the colonial archives deliberately destroyed, hidden or manipulated, this project attempts to shine a light on this history’s blind spots by creating new ‘imagined records’ that fill in the missing gaps of historical archives. State of Emergency interweaves fragmentary colonial archives, photographs of architectural and symbolic remnants from the past, mass grave sites, demonstrations and the testimonies of people who experienced and survived the war themselves.

Colonisation. Decolonisation --- Photography --- documentaries [documents] --- Mau --- postcolonialism --- colonialism --- Pinckers, Max --- Ivory Coast --- Kenya --- Decolonization --- Kenia --- documentary photography

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"A powerful visual culture study about the fraught and intertwined relationship between global antiblackness and the history of documentary photography"-- "Since photography's invention, black life has been presented as fraught, short, agonizingly filled with violence, and indifferent to intervention: living death--mortevivum--in a series of still frames that refuse a complex humanity. In Mortevivum, Kimberly Juanita Brown shows us how the visual logic of documentary photography and the cultural legacy of empire have come together to produce the understanding that blackness and suffering--and death--are inextricable. Brown traces this idea from the earliest images of the enslaved to the latest newspaper photographs of black bodies, from the United States and South Africa to Haiti and Rwanda, documenting the enduring, pernicious connection between photography and a global history of antiblackness. Photography's history, inextricably linked to colonialism and white supremacy, is a catalog of othering, surveillance, and the violence of objectification. In the genocide in Rwanda, for instance, photographs after the fact tell viewers that blackness comes with a corresponding violence that no human intervention can abate. In Haiti, the first black republic in the Western Hemisphere, photographic "evidence" of its sovereign failure suggests that the formerly enslaved cannot overthrow their masters and survive to tell the tale. And in South Africa and the United States, a loop of racial violence reminds black subjects of their lower-class status mandated via the state. Illustrating the global nature of antiblackness that pervades photographic archives of the present and the past, Mortevivum reveals how we live in a repetition of imagery signaling who lives and who dies on a gelatin silver print--on a page in a book, on the cover of newspaper, and in the memory of millions." -- Publisher's description

Documentary photography --- Black people --- Racism against Black people --- Violence --- Social aspects --- Moral and ethical aspects --- Press coverage