Escaping the War Horror:

Postcard with a man and a woman falling in love with each other

Introduction

Byron Metos is a Greek collector based in Thessaloniki, whose interest focuses on war photography and more specifically on the photography of the two World Wars in Greece. Part of his collection is titled Balkan und Griechenland (Balkans and Greece) and comprises photographs taken mostly by German soldiers and officers, though also including those by itinerant photographers, during the years of the Nazi Occupation in the Balkans, which have originated from photo albums of German soldiers.

During the postwar era, these were acquired by an officer who had served in Greece as a member of the Health Service of the German army. A pensioner in a small town in what was then West Germany, many years after the War, he decided to trace his own route through the war by adding the photographs of his fellow soldiers to his own photographic souvenirs – a process he pursued until the end of his life, spending much time in tracing his former fellow soldiers or their relatives. After his death, the collection passed to his daughter, who, a year later, sold the section relating to Greece, namely almost three thousand (3,000) photographs, to Byron Metos, expressing, however, her wish to retain her family’s anonymity.

The following paper focuses on the part of the Metos Collection that refers to Thessaloniki. Roughly numbering more than 800 prints, this particular part of the collection formed the subject of an exhibition organized in February 2016 at the Museum of Byzantine Culture.

[...]

Quelle: https://visual-history.de/2022/06/07/escaping-the-war-horror/

Weiterlesen

Empowering Visions: New Perspectives on Gender and Diversity in Photography

3 Planten/Monde: Ankündigung für einen Workshop

Teaser Workshop: Empowering Visions, Hannover 10th of June 2022

Take the opportunity to join our Symposium&Workshop Day „Empowering Visions – New Perspectives on Gender and Diversity in Photography“ on the 10th of June! Finally, we can supply you with all the information necessary to participate in the lectures and workshops and what you need to do to sign up.

On this day we want to explore how documentary photography deals with concepts such as visibility, gaze, hierarchy, gender and diversity. Our idea is to facilitate discourse in a motivating and sensitising space that raises awareness of patriarchal, colonial and racist structures in visual journalism and photographic teaching.

We, a team of students, professors and teachers from the Photojournalism and Documentary Photography programme in Hanover have been working hard to bring students and experts in the field together to discuss questions of legitimacy in image-making, of authorship and to promote awareness of gender and diversity-related questions.

To this end we will exchange ideas with people across the field of photography in order to hear from all participating sides on developing new perspectives on the medium and the practice!

[...]

Quelle: https://visual-history.de/2022/06/01/empowering-visions-new-perspectives-on-gender-and-diversity-in-photography/

Weiterlesen

Terra Study Day on American Photography

Poster Terra Study Day

2022-Terra-Study-Day-Poster Rijksmuseum, Amsterdam

The Rijksmuseum and the Terra Foundation for American Art are pleased to invite you to “Interrogating Western Americana: Photography, Indigeneity, Ecology.”

This convening will examine how photography shaped the ecological and racial narratives that enabled colonialism in the American West. Featuring the work of Native and non-Native scholars, this study day will address this topic from art historical and interdisciplinary perspectives that will reconfigure the ways in which we position photographs of Indigenous peoples and the environment.

This Study Day is free and open to the public and will take place at the Rijksmuseum and online.

Our guest participants include Elizabeth Hutchinson (Columbia University), Hulleah Tsinhnahjinnie (University of California, Davis), Jolene Rickard (Cornell University), and Henrietta Lidchi (Nationaal Museum van Wereldculturen).



[...]

Quelle: https://visual-history.de/2022/05/24/terra-study-day-on-american-photography/

Weiterlesen

CfP: Studientage für Fotografie 2022: „Medienbeziehungen der Fotografie“ / „Media Relations of Photography“

Ankündigung: Studientage für Fotografie 2022

Studientage für Fotografie 2022, Deutsches Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg

Bereits zum fünften Mal finden in Kooperation mit der Deutschen Gesellschaft für Photographie (DGPh) die „Studientage für Fotografie“ als internationales interdisziplinäres Forschungskolloquium am Deutschen Dokumentationszentrum für Kunstgeschichte – Bildarchiv Foto Marburg (DDK) an der Philipps-Universität Marburg statt. Das Jahresthema „Medienbeziehungen der Fotografie“ / „Media Relations of Photography“ diskutiert vom 19. bis 23. Juli 2022 die multimedialen Kombinationen, intermedialen Wechselwirkungen und Reflexionsverhältnisse zwischen Fotografie und anderen Medien in Gegenwart und Vergangenheit, um Kontinuitäten und Brüche in den Themenfeldern herauszuarbeiten.

Solche Beziehungen wurden traditionell zwischen der Fotografie und den „Künsten“ (Malerei und Literatur) untersucht. Die Studientage 2022 werden das Medienspektrum ausweiten und herausarbeiten, wie Fotografie andere Medien darstellt, ihre Formen kritisch oder affirmativ aufnimmt und reflektiert, in ihnen vorkommt oder sich mit ihnen kombiniert, beispielsweise im film still, in der Zeitschrift, im Fotobuch, Fotoroman, im Theater, Fernsehen und aktuell im Internet. Wenn in all diesen Phänomenen jeweils Medienbeziehungen hergestellt werden, dann werden dabei Medienidentitäten vorausgesetzt wie auch erzeugt.



[...]

Quelle: https://visual-history.de/2022/05/06/cfp-studientage-fuer-fotografie-2022-medienbeziehungen-der-fotografie-media-relations-of-photography/

Weiterlesen

Photo Archives VIII. The Digital Photo Archive. Theories, Practices and Rhetoric

Photo Archives VIII. The Digital Photo Archive. Theories, Practices and Rhetoric

The current ‘archival moment’ (Daston 2017) is characterised by the unprecedented online access to visual material, but also by deep concerns about loss of information. Scholars are confronted with the limitless production and circulation of (sometimes self-produced) digital images, as well as with the fragility of aggregated image clusters. Digitisation and digital photography are established practices, and numerous methods and approaches to the storage and retrieval, indexing, interoperability and sustainability of digital image collections have been tested, debated, applied, expanded, questioned and discarded.

These technological developments mean that more and more people all over the world are involved in creating, manipulating and collecting images. Images and metadata are copied, scraped, aggregated and rearranged in feeds, clusters and databases, both for commercial or scientific purposes. Moreover, big visual data serve as the basis for developing computer vision techniques. While these multifaceted collections evade canonical notions of the archive, archival structures and practices have become a nexus of the post-digital condition.

[...]

Quelle: https://visual-history.de/2022/05/02/photo-archives-viii-the-digital-photo-archive-theories-practices-and-rhetoric/

Weiterlesen

Photo Archives VIII. The Digital Photo Archive. Theories, Practices and Rhetoric

Photo Archives VIII. The Digital Photo Archive. Theories, Practices and Rhetoric

The current ‘archival moment’ (Daston 2017) is characterised by the unprecedented online access to visual material, but also by deep concerns about loss of information. Scholars are confronted with the limitless production and circulation of (sometimes self-produced) digital images, as well as with the fragility of aggregated image clusters. Digitisation and digital photography are established practices, and numerous methods and approaches to the storage and retrieval, indexing, interoperability and sustainability of digital image collections have been tested, debated, applied, expanded, questioned and discarded.

These technological developments mean that more and more people all over the world are involved in creating, manipulating and collecting images. Images and metadata are copied, scraped, aggregated and rearranged in feeds, clusters and databases, both for commercial or scientific purposes. Moreover, big visual data serve as the basis for developing computer vision techniques. While these multifaceted collections evade canonical notions of the archive, archival structures and practices have become a nexus of the post-digital condition.

[...]

Quelle: https://visual-history.de/2022/05/02/photo-archives-viii-the-digital-photo-archive-theories-practices-and-rhetoric/

Weiterlesen

Conference: PHOTOGRAPHIC HISTORY WITHOUT PHOTOGRAPHS

Conference: PHOTOGRAPHIC HISTORY WITHOUT PHOTOGRAPHS

Screenshot Photographic History Research Centre: Annual Conference 2022 PHOTOGRAPHIC HISTORY WITHOUT PHOTOGRAPHS

What is the shape and size of a photographic history that is written from the point of view of having no photographs? When photographs are destroyed, lost, repressed, or never intended to be permanent, it leaves a gap in what we usually refer to as our main research material.

By chance or by design, photographs disappear every day. They might be destroyed, or lost, or designed to fade. They might be rendered undiscoverable through complicated bureaucracy, secrecy, or algorithms. Contemplating the space left without photographs, a veritable foil to the enormity of the image archive, can enrich our understanding of photographic history and methodology. The PHRC seeks contributions interrogating the photographic histories that are not image led, that excavate imageless histories.



[...]

Quelle: https://visual-history.de/2022/02/01/conference-photographic-history-without-photographs/

Weiterlesen

Reimagining One’s Own. Ethnographic Photography in Nineteenth- and Early-Twentieth-Century Europe

Reimagining One’s Own. Ethnographic Photography in Nineteenth- and Early-Twentieth-Century Europe

Inv.-Nr. pos/774 in der Fotosammlung des Volkskundemuseum Wien ©

The photo collection of the Volkskundemuseum Wien was established along the lines of a “comparative ethnology of Europe” in the late nineteenth century, focusing on the territories of the Habsburg Monarchy. Today, the assembled materials raise manifold questions about their origins and, as a consequence, about the visual ethnography of “one’s own”.

Just as colonial ethnography created an image of the “others,” ethnographers and folklorists in Europe approached their “own” populations within the continent. The work here is always asymmetrical; it was the ethnographers and photographers who determined what the image of those studied by them looked like. Ethnography at the time conceived “people” with a respective essence in mind. It designed primitivizing and exoticizing typologies, such as in the form of so-called type photography—a genre of images that circulated far beyond the narrow scientific context and could serve the most diverse purposes.

[...]

Quelle: https://visual-history.de/2021/11/22/reimagining-ones-own-ethnographic-photography-in-nineteenth-and-early-twentieth-century-europe/

Weiterlesen

The Politics of Photography: Feminist Activisms in India and Britain

GHI London: Online Exhibition „Forms, Voices, Networks: Feminism and the Media“

 

 

What kind of history does the photograph tell?
What – or whose – claims does the photograph inscribe?

 

 

 

The Politics of Photography:
Feminist Activisms in India and Britain



[...]

Quelle: https://visual-history.de/2021/11/18/the-politics-of-photography-feminist-activisms-in-india-and-britain/

Weiterlesen

Workshop: Transgenerational Corpographies of Memory

As part of the Images of History in Contemporary Art research project funded by the Swiss National Science Foundation (SNSF) in Bern, the workshop Transgenerational Corpographies of Memory will take place:

November 18, 2021, 2:30–6:30 pm
November 19, 2021, 9:00 am–5:00 pm

Location
Leibniz Centre for Contemporary History Potsdam (ZZF)
Am Neuen Markt 9d
14467 Potsdam

 

Transgenerational Corpographies of Memory is a visual art and history workshop that uses two audio-visual artistic works as a departure point to explore the dimensions and trajectories of transgenerational memory within the medium of artistic film. The workshop consists of two parts: the film screenings and the discursive program. The underlying works stage female biographies of the 20th and early 21st century based on two women’s self-narrated memories. The workshop structure is triadic, meaning that the works will be analyzed from an artistic, art historical and historical perspective in a complementary way. The aim of this transdisciplinary investigation is to explore transgenerational cultural memory work in contemporary art via pictorial “close readings.” The central questions are: How can we grasp the connection between history, transgenerational memories and artistic images of history?

[...]

Quelle: https://visual-history.de/2021/11/10/workshop-transgenerational-corpographies-of-memory/

Weiterlesen