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Almost all museums hold photographs in their collections, and
museum professionals and their audiences engage with photographs in
a myriad of ways. Yet despite some three decades of critical
museology and photographic theory, and an extensive debate on the
politics of representation, outside art museums, almost no critical
attention has been given specifically to the roles, purposes and
lives of these photographs within museums. This book brings into
focus the ubiquitous yet entirely unconsidered work that
photographs are put to in museums. The authors' argument is that
there is an economy of photographs in museums which is integral to
the processes of the museum, and integral to the understanding of
museums. The international contributors, drawn from curators and
academics, reflect a range of visual and museological expertise.
After an introduction setting out the range of questions and
problems, the first part addresses broad curatorial strategies and
ways of thinking about photographs in museums. Shifting the
emphasis from curatorial practices and anxieties to the space of
the gallery, this is followed by a series of case studies of
exhibitionary practices and the museum strategies that support
them. The third section focuses on the role of photographs in the
museum articulation of 'difficult histories'. A final section
addresses photograph collections in a digital environment. New
technologies and new media have transformed the management, address
and purposing in photographs in museums, from cataloguing practices
to streaming on social media. These growing practices challenge
both traditional hierarchies of knowledge in museums and the
location of authority about photographs. The volume emerges from
PhotoCLEC, a HERA funded project on museums and the photographic
legacy of the colonial past in a postcolonial and multicultural
Europe.
Through powerful case studies, Adjusting the Lens addresses the
ways that the historical photographic record of Indigenous peoples
has been shaped by colonial practices, and explores how this legacy
is being confronted by Indigenous art activism and contemporary
renegotiations of the past. Contributors to this collection analyze
the photographic practices and heritage of communities from North
America, Europe, and Australia, revealing how Indigenous people are
using old photographs in new ways to empower themselves, revitalize
community identity, and decolonize the colonial record.
Almost all museums hold photographs in their collections, and
museum professionals and their audiences engage with photographs in
a myriad of ways. Yet despite some three decades of critical
museology and photographic theory, and an extensive debate on the
politics of representation, outside art museums, almost no critical
attention has been given specifically to the roles, purposes and
lives of these photographs within museums. This book brings into
focus the ubiquitous yet entirely unconsidered work that
photographs are put to in museums. The authors' argument is that
there is an economy of photographs in museums which is integral to
the processes of the museum, and integral to the understanding of
museums. The international contributors, drawn from curators and
academics, reflect a range of visual and museological expertise.
After an introduction setting out the range of questions and
problems, the first part addresses broad curatorial strategies and
ways of thinking about photographs in museums. Shifting the
emphasis from curatorial practices and anxieties to the space of
the gallery, this is followed by a series of case studies of
exhibitionary practices and the museum strategies that support
them. The third section focuses on the role of photographs in the
museum articulation of 'difficult histories'. A final section
addresses photograph collections in a digital environment. New
technologies and new media have transformed the management, address
and purposing in photographs in museums, from cataloguing practices
to streaming on social media. These growing practices challenge
both traditional hierarchies of knowledge in museums and the
location of authority about photographs. The volume emerges from
PhotoCLEC, a HERA funded project on museums and the photographic
legacy of the colonial past in a postcolonial and multicultural
Europe.
Haunting and revealing photographs sent home by Norwegian
immigrants in America as visual document and collective expression
of the emigrant experience Between 1836 and 1915, in what has been
called history's largest population migration, more than 750,000
Norwegians emigrated to North America. Writing home, the newcomers
sent thousands of pictures-America-photographs, as they are called
in Norway. In these photographs, the emigrant experience unfolds as
framed by thousands of Norwegian transplants in towns, cities, and
rural communities across America. Pictures of Longing brings more
than 250 America-photographs into focus as a moving account of
Norwegian migration in the nineteenth and early-twentieth
centuries, conceived of and crafted by its photographer-authors to
shape and reshape their story. To clarify the historic nature and
the cultural function of the America-photographs, art historian and
photography scholar Sigrid Lien located thousands of the
photographs in public and private archives and museums in Norway
and the United States. Reading these photographs alongside letters
sent home by Norwegian immigrants, Lien provides the first
comprehensive account of this collective photographic practice
involving "the voice of the many." Pictures of Longing shows, in
fascinating detail, how the photographs, like the accompanying
letters, contribute to the cultural grassroots expression of
Norwegian migration. They steer us toward multiple, fragmented, and
dispersed histories and also complement the existing fabric of
established historical narratives, demonstrating photography's
potential to engage with history.
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