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E-book Contact Zones : Photography, Migration, and Cultural Encounters in the United States

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Penilaian

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Histories of migration to the United States are also a history of American photogra-phy. Yet, the relationship between these histories are rarely discussed in surveys of the history of photography in America. Neither are immigrants’ uses and circula-tion of photographs discussed in the historiographies of the European immigration to the United States.1 However, US migration history and the history of American photography can be conceptualized as what Swedish historian Gunlög Fur terms concurrent histories: two fields of inquiry that were mostly conducted in isolation but would “benefit from a concurrent analysis as a way of addressing the neglect of their interrelation.”2 Informed by comparative post- and decolonial thinking, Fur argues in favor of looking for moments of entanglements as a way of addressing such concurrences.3 Inspired by such reflections, this book addresses the inter-relationship between the histories of American photography and the histories of US migration by bringing together scholarship that explores the ways in which photography, migration, and the United States are entangled through cultural pro-cesses of temporal, geographical, aesthetic, and imaginative social contact. How then may the concurrences between the histories of American photography and the histories of US migration be brought to the surface? This question requires a closer consideration of how each of these histories are typically narrated, and how they, as Fur puts it, “stand in an ambiguous and often conflicted relationships to other histories, in terms of time and space.”4One the one hand, there are surveys, such as Miles Orvell’s history of photogra-phy in America, which representative of its genre is written with the purpose of uncovering “the ‘Americanness’ of American photography.”5 With the photogra-phers’ intentions as a point of departure, the survey presents a general overview of the works by canonized photographers within portraiture, landscape, documen-tary, and artistic photography. Early portraiture is discussed with an emphasis on great names within celebrity studio photography, such as Mathew Brady and Napoleon Sarony. Landscape photography, differentiated through notions of “aes-thetic” versus “topographic,” is construed as a line of development from, respec-tively, Carleton Watkins and Eadweard Muybridge, via Ansel Adams to Stieglitz, and from Timothy O’Sullivan to the New Topographics. Documentary is described as the general tendency stretching from the work of Jacob Riis, Lewis Hine, and the Farm Security Administration (FSA) photographers of the 1930s (including Walker Evans, Dorothea Lange, and Ben Shahn) to Steichen’s The Family of Manand Frank’s The Americans, followed by references to the works of Lee Friedlander and Diane Arbus. Finally, art photography is constructed as genealogy of merits starting with Alfred Stieglitz, Paul Strand, Man Ray, and Edward Weston to the work of Joel Peter Witkins, Cindy Sherman, Richard Prince, Barbara Kruger, and Nan Goldin.

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Ketersediaan

Informasi Detail

Judul Seri

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No. Panggil

770 BAS c

Penerbit

Belgium : Leuven University Press., 2021

Deskripsi Fisik

361 hlm

Bahasa

English

ISBN/ISSN

9789461663573

Klasifikasi

770

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

-

Subjek

Photography and Photographs

Info Detail Spesifik

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Pernyataan Tanggungjawab

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Versi lain/terkait

Lampiran Berkas

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