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2017, History of Photography
An Episode in Tartu's Photo History. Edited by Indrek Grigor and Alexey Murashko (Tartu: Tartu Art Museum, 2023)
Women with Cameras: Providing Erotic Entertainment for the Male Audience While Working as Photographers2023 •
“The exhibition is aimed to serve as an impulse for further development of photographic art in our republic, especially among women. (. . .) Women already have proven that they are, and can be, capable photographers, and this exhibition undoubtedly proves that one more time,” wrote Jānis Kreicbergs (1939–2011), a Latvian photographer and member of the Riga Photo Club, in the catalogue of the international photography exhibition Woman with Camera [Fotografē sieviete], which he organized in Riga in 1977. The condescending tone (“women have proven”: to Whom? Why? How?) characterizes the heteropatriarchal field of photography in Soviet Latvia and across much of the transnational photo-club culture at the time. This essay focusses on the exhibition Woman with Camera, which also included works by Estonian women photographers. The aims of this essay are 1) to offer a tentative feminist critique of the Soviet postwar photo club culture, 2) to outline the historical origins of that culture, and 3) to highlight a few sociological and cultural advancements that this culture achieved despite its blatant sexism. I have chosen the exhibition Woman with Camera as the case study in this essay for several reasons. Firstly, Woman with Camera was arguably the most widely publicized international photography exhibition of the decade in Latvia. Secondly, it presents a unique and complex set of issues: on the one hand, it reflects the dominant worldview of the photo-club culture and manifests the desires and fantasies of straight middle-aged men. On the other hand, it does so—paradoxically—through the work of women photographers. Highlighting such paradoxes helps us better understand what is really at stake: it may be less important to know whether a “man” or a “woman” holds the camera than it is to examine the societal and cultural context in which they operate, the kinds of images they produce and who benefits from their activities. Thus, I argue, the exhibition Woman with Camera did not so much demonstrate the creative output of women photographers as reveal what kinds of images by women photographers were deemed acceptable in the photo-club culture of the time.
Table of Contents; Forward by Linda Nochlin; and the Introduction, "Imagining and Embodying New Womanhood" by Elizabeth Otto and Vanessa Rocco
The New Woman International: Representations in Photography and Film from the 1870s through the 1960s2011 •
Available in this download: Table of Contents, forward by Linda Nochlin, and Introduction by Elizabeth Otto and Vanessa Rocco. Published in hardback and paper, this book is also available for free in its entirety online at: http://www.digitalculture.org/books/the-new-woman-international/ The book contains essays by Jan Bardsley, Matthew Biro, Gianna Carotenuto, Melody Davis, Kristine Harris, Karla Huebner, Kristen Lubben, Maria Makela, Elizabeth Otto, Martha H. Patterson, Vanessa Rocco, Clare I. Rogan, Despina Stratigakos, Brett M. Van Hoesen, Kathleen M. Vernon, and Lisa Jaye Young. Images of flappers, garçonnes, Modern Girls, neue Frauen, and trampky—all embodiments of the dashing New Woman—symbolized an expanded public role for women from the suffragist era through the dawn of 1960s feminism. Chronicling nearly a century of global challenges to gender norms, The New Woman International: Representations in Photography and Film from the 1870s through the 1960s is the first book to examine modern femininity's ongoing relationship with the nineteenth and twentieth centuries' most influential new media: photography and film. This volume examines the ways in which novel ideas about women's roles in society and politics were disseminated through these technological media, and it probes the significance of radical changes in female fashion, appearance, and sexual identity. Additionally, these original essays explore the manner in which New Women artists used photography and film to respond creatively to gendered stereotypes and to reconceive of ways of being a woman in a rapidly modernizing world. The book brings together generations of scholars to analyze the New Woman from her inception in the later nineteenth century through her full development in the interwar period, and the expansion of her forms in subsequent decades. These essays show how controversial female ideals figured in discourses including those on gender norms, race, technology, sexuality, female agency, science, media representation, modernism, commercial culture, internationalism, colonialism, and transnational modernity. Inaugurating a new chapter in the scholarship of representation and New Womanhood and spanning North America, Western and Eastern Europe, Asia, and the colonial contexts of Africa and the Pacific, this volume reveals the ways in which a feminine ideal circled the globe to be translated into numerous visual languages.
My paper seeks to explore interlinks between gender, photography and pleasure and how gender is mediated through photography in the works of Barbara Kruger, Orlan and Cindy Sherman, who use the female, gendered and erotic body in order to rewrite the parameters of happiness and 'jouissance' by producing ad-scapes and photographs which bespeak the suture between the 'femaleness' of identity and the stereotypical notions of aesthetic female beauty as they are valorised and canonised in the West. In the first instance, the photographs themselves serve as an instance of the commodification of desire and pleasure in consumerist culture. Yet beyond their fetishistic value, they also exemplify an attempt to undermine phallogocentric discourse and the objectifying, 'penetrating' and all-seeing male gaze. By drawing on theorists such as Derrida, Cadava, Benjamin, Barthes and Sontag I hope to show that although such photographic representations can be extremely empowering and engaging in light of the various provocative issues they raise in relation to gender and the female body, they also freeze and stultify the female body in a kind of temporal death by placing it into and within the photographic frame and locking it into a framework of reciprocal (mostly male) gazes and exchanges.
Photography, History, Difference edited by Tanya Sheehan (UPNE, 2014)
“Picture Taking and Picture Making”: Gender Difference and the Historiography of Photography2014 •
Comunicação e Sociedade
Disarranging our album: photography and genderThis special issue of the journal Comunicação e Sociedade departed from our desire of intersecting knowledges and exchanging looks, proposing a meeting on the border-crossing between photography studies and gender studies...
2019 •
Photography, Women and Feminism This essay explores the relation between photography, women and feminism proposing, beyond the usual excursus of the feminist contents expressed in the photography of the Seventies, a new study of the relation between the photographic technique and the process of emancipation of the female subject. This reflection is priory formulated through a historical, social and aesthetic study of the first decades from the invention of the photography, considering the empowerment process that this new media brought. The analysis is supported by photographs and biographies of women photographers, mapping a journey through names, images and projects that represent important steps within the photographic tradition, although often left in the shadow of the international history, partially narrated. The examples include photographers from different continents and countries, from the Anglo-Saxon context to India, Italy, France and South Africa for instance, endeavouring a broader view of the women flow in the history of photography.
Urban Forestry & Urban Greening
How nature-based solutions can enhance urban resilience to flooding and climate change and provide other co-benefits: A systematic review and taxonomy2024 •
La imagen y el tiempo. Miradas al pensamiento de Diego Lizarazo
Las políticas de la interpretación: pautas para abordar la relación entre estética, política y comunicación2024 •
Revista Arautos do Evangelho
Qual a cor do céu? Revista Arautos do Evangelho, ano 23, n. 265, jan. 2024, p. 50-512024 •
2019 •
https://www.ijhsr.org/IJHSR_Vol.9_Issue.11_Nov2019/IJHSR_Abstract.013.html
Health Afflictions of Tea Plantation Workers in Coonoor, the NilgirisRevista científica
Propuesta Didáctica Para La Enseñanza y Aprendizaje De Conceptos Físicos Básicos a Partir Del Uso Del Video De Ciencia Ficción y Prácticas De Aula Demostrativas2011 •
International Journal of Prosthodontics and Restorative Dentistry
Effect of Water Sorption and Solubility on Two Soft Denture Lining Materials Stored in Three Different Mediums2023 •
2021 •
Frontiers in plant science
Major Novel QTL for Resistance to Cassava Bacterial Blight Identified through a Multi-Environmental Analysis2017 •
Mokslas - Lietuvos ateitis
Shelf for Serving Lines Development and Launching to the Market2024 •
arXiv (Cornell University)
Stability results for an elastic-viscoelastic waves interaction systems with localized Kelvin-Voigt damping and with an internal or boundary time delay2020 •