Reconstructing the Self: photography, education and disability

Despite the centrality of photography to an understanding of the self and others in contemporary culture, its educational significance has been largely ignored. This paper examines the potential of photographic work as a means of exploring and reconstructing understandings of disability in an educational context. The particular empirical focus is a short project in the context of a Foundation arts course. It is argued that the practical work produced by students on the project enabled them to understand how their identities are constructed within photographic discourses such as charity advertising and family photography, and to begin to reconstruct new understandings of the self. It is also argued that this goes beyond progressivist pedagogies or photography as a kind of art therapy.     

The Alligator Woman's Tale: Remembering Nicaragua's “First Self-Declared Lesbian”

Carmen Aguirre (1931–1971) was a young woman who lived as a self-made man in the 1960s under the brutal, yet populist, right-wing Somoza dictatorship in Nicaragua. Carmen was known as Carmelo or la Caimana (the alligator woman). This article sheds light not only on la Caimana's life, but on how he is remembered today in Nicaragua. It addresses dynamics of Nicaragua's sexual past, present, and future, as well as theoretical questions dealing with identity, sex, and politics.     

Is Seeing Believing? Photographs,Eyewitness Testimony,and Evidence of the Holocaust

During World War II, the first media outlets to publish photographs of the Nazi mass murder of Jews and others were Soviet newspapers and magazines. The problem with Soviet photographs was that the Soviet media were considered unreliable from a Western standpoint, because unlike in the West, which perceived a clear ideological differentiation of art from photojournalism, Soviet photography blurred that distinction. According to Western standards of evidence, Soviet photography could never be taken seriously as photojournalism, precisely because the photographer was always metaphorically present. Since Soviet photojournalism failed the test of the documentary imperative, it rarely convinced people of the truth of its subject matter. In this epistemological context when photographs might fail to convince, the act of physically bearing witness, of seeing with one's own eyes, became the most important way of proving to a disbelieving public the veracity of Nazi atrocities.     

Cultures of Denial: Avoiding Knowledge of State Violations of Human Rights in Argentina and the United States

Why and how do individuals distance themselves from information about their government's participation in torture and other human rights violations? Such citizen (non)response implicitly legitimates and thus facilitates the continuation of abusive state actions. Drawing on a model of socially organized denial, we explore how sociocultural contexts and practices mediate individuals’ avoidance, justification, normalization, silencing, and outright denial of human rights abuses in two sites: Argentina during the last military dictatorship (1976–1983) and the United States during the “war on terror” post September 11, 2001. The study is based on 40 in‐depth interviews with members of diverse civic, religious, community, and political organizations in both countries (20 in each site). Comparing the political circumstances of a dictatorship and an electoral democracy, the analysis shows the roles of patriotic and national security ideologies and practices of silence and talk as organizers of cultures of denial.     

Aesthetics of disaster as decolonial aesthetics: making sense of the effects of Hurricane María through Puerto Rican contemporary art

ABSTRACT

On 20 September 2017, Hurricane María made landfall on Puerto Rico causing unprecedented disaster. From that day onwards, the Puerto Rican multi-layered colonial, social and political context was further complicated by the traumatic acceleration of a human disaster via this natural disaster. This crystalized the urgency of using art as vehicle for (social) catharsis, a practice that continues to be used by individual artists, collectives, community organizations, art projects, and other art institutions on the island and abroad, through mural art, community paintings, art exhibitions, literature, music, and many other aesthetic expressions. This article examines, from a decolonial and critical cultural studies perspective, post-Hurricane María artistic expressions in contemporary art as decolonial aesthetics through the cathartic use of the frame of an aesthetics of disaster. It is argued that, an aesthetics of disaster aims to re-assert an artistic form that is able to accelerate the discursive nullification of a deeply rooted colonial, social and cultural problem by way of art as catharsis inspired by the way that Hurricane María unveiled these problems. The piece briefly contextualizes Puerto Rico, and it examines the idea of Puerto Rican contemporary art as catharsis. Then, it describes how Puerto Rican contemporary art exhibitions and associated aesthetic production are processing urgent post-hurricane issues through three illustrative pieces in exhibitions in PR and abroad in the United States (US). Lastly, decolonial aesthetics is reexamined and re-understood, informed by Édouard Glissant's view expressed in Poetics of Relation which aids to the conclusion that Puerto Rican contemporary art using the frame of an aesthetics of disaster functions as a powerful form of decolonial aesthetics.     

Shot at Dawn: Late photography and the anti-war memorial

The military executions of World War One are the subject of Chloe Dewe Mathews’s 2014 photographic series Shot at Dawn. These events—in which hundreds of soldiers were court-martialled and executed for cowardice and desertion—remain controversial, without consensus or established collective narrative. This article charts historic negotiations with the subject but also considers more recent efforts to integrate these proceedings within memorial practice. World War One remembrance activities, whilst diverse, have often emphasised sacrifice, heroism and community. Correspondingly, participation and engagement were core values in the major British World War One centenary arts project, titled 14-18 NOW, from which Shot at Dawn was commissioned. Chloe Dewe Mathews’s contribution to the programme, however, presents a photographic aesthetic of resistance to the principles of inclusivity and remembrance elsewhere embraced by the project. As such, the work challenges the consensual politics of commemoration and—through the practices of late photography, land art and performance pilgrimage—substitutes trauma and forgetfulness for reconciliation and memory.     

WHAT MAKES THE LOCAL? A BRIEF CONSIDERATION OF THE REJUVENATION OF HONG KONG IDENTITY

This paper ascertains what makes the local and why the local is important, in the context of change in Hong Kong due to the political transition to PRC sovereignty.In doing so, I hope to pose a modest polemical challenge to cultural studies' tendency to overlook seemingly simplistic empirical information. The return of Hong Kong to China in 1997 has led to a contraction of the political sphere, as the convergence of political structures curbed the development of local identities. The label or category ‘Hong Kong people’ was then appropriated with a specific meaning for the local to resist encroachment of the national. It was true that the high intensity of dominant national discourses during the political transition created a favourable atmosphere for re-nationalization. However, as soon as the political transition was over, Hong Kongers re-adhered to their own label in their struggle for cultural autonomy.Their strong cultural affect toward various national icons during the transition quickly diminished. This multiyear discourse study (1996–1998), which utilizes social scientific methods in conjunction with cultural theories, illustrates important political and methodological impulses necessary for the formulation of a socio-political approach to cultural studies within the Hong Kong context.     

PUBLIC ART/PRIVATE LIVES

This essay traces a body of work, as it emerges in the space between visual art and an engagement in the public sphere. A range of projects and exhibitions, using photography as medium, is described in the context of a discussion about the complexity of the photographic transaction. All of these projects explore notions of intimacy, pushing at the boundaries between ‘the private’ and ‘the public’ in the South African public cultural domain. The essay focuses particularly on Hotel Yeoville (2010), a participatory public art project-based online and in the library of the old Johannesburg suburb of Yeoville. Yeoville's estimated 40,000 inhabitants are largely disenfranchised migrants and refugees from every part of the African continent. The project comprised a website and an exhibition space with a series of digital, interactive booths in which members of the public were invited to document themselves through mapping, video, photography, text and social media applications. The essay reflects upon the performative, evocative and expressive potentials of the media platforms that could be accessed through the Hotel Yeoville installation and in this particular social and political context asks questions about the photographic encounter and its relationship to self-representation, truth, knowledge and power.     

Hand over fist: a chronicle of Cold War photography

Group Material’s Timeline: The Chronicle of US Invention in Latin and Central America (1984) at P.S.1’s Center for Contemporary Art explored the framing devices of installation art and photography in tandem, as a means of reconfiguring the distribution of the sensible at the height of the Cold War. In response to escalating crisis (including continuous Central Intelligence Agency operations being carried out in Nicaragua and El Salvador), this activist project employed postmodern strategies such as appropriation, pastiche and a resistance to conclusiveness in order to suggest provocative and unexpected dialogues between disparate artworks and artefacts across time and geopolitical difference. Artists ranging from Richard Prince and Barbara Kruger to John Heartfield, Tina Modotti and Arellano Bolivar, among others, come together as signs of political and aesthetic conflict, as networks of visual culture that complicate dominant narratives of spatial and temporal reality during the Cold War era. Closer analysis of such works reveals historical ruptures alongside continuities, relayed by official government policy, mass media and the art world more broadly. By excavating a long-standing history of conflict, Timeline addresses the stakes of the ownership of meaning itself in the mid-1980s, with implications regarding art production and politics for generations to come.     

‘Aboriginal mass culture’: a critical history

In Australia, some Aboriginal art objects are celebrated as fine art of great cultural, aesthetic and economic value, while the vast majority are judged to be stylistically derivative and intrinsically compromised by overtly mercenary market forces. This article introduces the concept ‘Aboriginal mass culture’ as a means for understanding the significance of the often maligned forms of the Aboriginal art and culture industry in Australia and to address the problem of why it continues to be difficult to demarcate the space of Aboriginal fine art. While a canonical and connoisseurial art history approach must disavow the vast majority of ‘Aboriginal art’, this article embraces a sociological perspective and turns an analytical eye upon the Aboriginal art and culture industry in its entirety, treating it as a phenomenon of visual culture that mediates Indigenous/non-indigenous relations within national public culture. It offers a critical history of ‘Aboriginal mass culture’ from the market for ‘Aboriginalia’ in the post-Second World War era through to the unruly Aboriginal art market of the present day. In so doing, it illuminates some of the drivers of these cultural forms across commercial, governmental and civil society domains. Its analysis reveals the way in which ‘Aboriginal mass culture’ manifests the unique social and economic circumstances that underpin Aboriginal art practices and the ways in which Aboriginal art is entangled with a redemptive political and civic project in Australia that has sought to affirm a resilient Indigenous presence and stimulate new visions of nationhood, heritage and intercultural fellowship.     

Middle class identities in a neoliberal age: tensions between contested authenticities

This paper explores in‐depth interviews on aspects of middle class identity in a neoliberal age, taking the case of Chile's rapid and stark transition to a neoliberal economic model which was imposed by a dictatorship but later reproduced during democracy. ¹ The paper reveals that there are no challenges to middle class identities (eg from the working class, or peasants). In this respect, these are neo‐liberal middle class identities in that their way of thinking is preconditioned by market dominance. Informed by Bourdieu's views on class identities, this article emphasises the horizontal, non‐hierarchical nature of contemporary class taste, and contributes to debates on stratification and culture, settling accounts with older class theory which perceives contests between the popular and middle classes. Notwithstanding this, however, I argue that processes of horizontal differentiation do involve tensions between cultural and moral boundaries. This article therefore also offers an alternative approach for exploring how middle class identities experience processes of individualization. It is argued that individualization processes should be placed in social and ethical registers as they could be in tension with various ways of understanding authenticity: being true to oneself or to one's origins.     

Controversies of US‐USSR Cultural Contacts During the Cold War: The Perspective of Latvian Refugees1

Abstract This article analyzes the conflict that emerged regarding the so‐called US‐USSR “cultural contacts” during the Cold War within the exile community of American Latvians. While most of the American political and cultural elites saw cultural exchanges with the Soviets as beneficial, the reactions of the émigrés were much more controversial and polarizing. This study reveals the unrecognized side of the Cold War politics as experienced by the refugee groups. The study employs American, Latvian and Soviet publications, memoirs, interviews and archival materials.     

Extreme Rhetoric in the 2004 Presidential Campaign: Images Of Geopolitical and Regional Division

This article examines the most extreme discursive elements of political advertising in the 2004 presidential campaign in Ukraine. It deals with images of hostility, expression of ethnic phobias, and stereotypical schemes that were designed as remakes of Cold War motifs. The stereotypes in the discourse of the campaign served as populist references to different geopolitical orientations of the candidates, and as a vehicle for creating the conflicting identities of "two Ukraines." The discourse of extremes is analyzed within the context of an ideological transformation in the country that was determined by clashes between democratic and neo-totalitarian ways of thinking. The special focus of this article is to portray electoral rhetoric as one of those domains in public communication in which the image of identity takes shape.     

War against War!: pictures as means of social struggle in post-First World War Europe

Germany 1925: Ernst Friedrich, a young anarchist and anti-militarist activist, publishes one of the first independent books composed only of photographs and captions: War against War! His stated goal is to employ classified pictures of the First World War (WWI) to unmask nationalistic propaganda and expose the false narratives of militaristic rhetoric. Published on the eve of the golden age of photojournalism, this book is the first grassroots attempt to use photography as a means of social and cultural change on a large scale. Through in-depth analysis of some key pictures, I will investigate the relation this series of images establishes with the beholder and the role it plays in shaping his visual experience. Emphasis will be placed on 24 close-ups of disfigured faces which constitute the last set of this visually driven narrative. As I will seek to demonstrate, the complex array of pictures created by Ernst Friedrich testifies to a fundamental yet still embryonic change in the social perception of photography in the post-WWI Europe.     

The Makings of Political Art

Sociological work on how cultural objects are produced tends to neglect the politcal context of such production, whereas work on social movements and art neglects how movement artwork acquires its form and content. This article aims to fill these lacunae by analyzing the protest art of shantytown women against Pinochet. Artists, movement organizers, movement sponsors, and buyers interact to shape political art. The national and international political and economic contexts also play a part in that shaping. Ethnographic data from Chile and Europe, as well as a study of the art forms themselves, form the basis for the article's claims.     

Developing selves: photography,Cold War science and ‘backwards’ people in the Peruvian Andes, 1951–1966

This article explores how social science applications of photography employed in the early 1950s to both understand and change so-called ‘backwards’ people became entangled with, and drew momentum from, the geopolitical concerns of the early Cold War. Specifically, I address the employment of photography in the Cornell-Peru Project in the Andean community of Vicos, a decade-long research experiment combining development anthropology and fashionable modernisation theory emanating out of the behavioural sciences. In addition to development activities that were to serve as the catalysts of change (agricultural improvement, health and education), researchers at Vicos were at pains to uncover and validate the inner ‘predispositions’ towards change and modernity they hoped were lurking inside villagers. Reflecting Cold War priorities and concerns, researchers sought to locate a particular developing indigenous subject – one closer to liberal capitalism (and its values of self-reliance and individualism) and away from communal nature of indigenous society that too strongly resembled Soviet models of development and collectivisation. Along with an arsenal of other psychological projective tests, researchers hoped the camera’s lens would reveal this change through such subtle cues as the rearrangement of home interiors and modifications in dress, style and comportment, as well as the development of visual literacy. Following the photographic work of famed photographer and formative visual anthropologist, John Collier, Jr., during a year at Vicos, this article ultimately explores the limitations of the behavioural sciences’ hopeful uses of photography.     

Resettlement and Border Crossing: A Comparative Study on the Life and Ethnicity of Vietnamese in Australia and Japan

Abstract: This paper deals with the life world and ethnic identity of Vietnamese residents who entered and settled in Australia and Japan as refugees after the end of the Vietnam War. It focuses on how social and cultural conditions in the host countries and global influences affect the lives of overseas Vietnamese and consequently transform their ethnic identities. Through this comparative research study conducted in Australia and Japan, I have focussed on Vietnamese religion, social networks, perceptions of the homeland and the host country, notions of Vietnamese identity between generations, and images of Vietnamese in the media of the host country. I explore the features of each host society in accepting refugees and also the commonalities and differences in how the overseas Vietnamese construct their life world and ethnic identity. I also discuss the “location of Vietnamese identities” in Australia and Japan. I will also rethink the meaning of “settlement” and “crossing borders” related to the politics of Vietnamese identities that confirm the importance of investigating the effects of displacement on the life of the Vietnamese diaspora in contemporary world context.     

Inoperative Community in Post‐Authoritarian South Korea: Football Fandom,Political Mobilization and Civil Society

South Korea’s dynamic civil society developed from the democratic struggle against the military dictatorship in the 1980s and early 1990s. The period of political liberalisation that began in 1992 saw the emergence of new voices and social forces, and a new “netizen” culture of Internet users. This article explores the new social, cultural and political landscapes of the country that were made possible by self‐organising communities of the public actualising their potential for occasions of collective mobilisation and subverting the powers of dominant authorities. The empirical focus is on two events that marked the post‐authoritarian political culture of South Korea: the Red Devil phenomenon during the 2002 football World Cup, characterised by passionate support, civic pride and a rudimentary cosmopolitanism, and the anti‐impeachment protests of 2004. These key examples of mass voluntary organisation and mobilisation, founded on the desire for association and enactment of the sense of civil sovereignty, and borrowing from decades of popular struggle and resistance against the state, have expressed the love of community, the intimate communication and the being‐together of what Nancy calls inoperative community. Standing in opposition to the overarching authority of the state, inoperative communities emerge through the self‐actualisation of new subjectivities. This article investigates how, through play, transgression and protest, these inoperative communities have reshaped the culture and society of South Korea in the post‐authoritarian era.     

THE HOLOCAUST AS RECURRING REALITY: VICTIMIZATION THEMES AND JEWISH AMERICAN ETHNIC IDENTITY FORMATION

Drawing on sociological studies that document the regularity through which marginalized ethnic groups construct an ethnic identity, this article examines identity formation in the Jewish American context. A content analysis of 100 short stories written between 1946 and 1995 demonstrates how victim-oriented identities are created out of the more mundane experiences of everyday life. These stories, which were intended for consumption by Jewish American readers, describe daily life within the Jewish American community and, with surprising regularity, bring issues of victimization into the imagined experience for their readers. In addition, the analysis shows how Jewish American short story writers present the Holocaust, victimization, and anti-Semitism as contributing heavily to the processes of identity formation within the community. The discussion of the data concludes by arguing that, as the Jewish American community becomes further removed from the events of World War II, the Holocaust is becoming a more salient recurrent reality in the formation of a Jewish American identity that is increasingly tied to issues of victimization.     

A lightness of vision: the poetics of Relation in Malian art photography

“Art photography” is a recent phenomenon in Bamako, Mali, home of renowned studio portraitists Seydou Keïta (1921/3–2001) and Malick Sidibé (b.1936). These photographers inspired the founding of the Bamako Photography Biennale in 1994, which sparked the rise of a local art photography movement. The potentialities offered by the Biennale ignited the imaginations of a small cohort of Malian photographers. Yet, instead of following global trends introduced by the presence of international art, the Bamakois art photographers have remained close to the values of studio portraiture. Their practices emphasise photography’s social aspect by focusing on the human body and appreciating its beauty, while allowing individual creativity to flourish in ways previously unimaginable. Malian photographers thus have retained a relatively autonomous local identity, while creating art photography stemming from a history of portraiture that itself was repositioned as art on the global stage. This dialectic between local identity and global reception gives contemporary Malian photographs the potential to embody Relation, from Caribbean philosopher Édouard Glissant’s Poetics of Relation (1990) and Philosophie de la Relation (2009). Relation acknowledges differences and diversity within wholeness or totality, and de-hierarchises power relations. Works by Alioune Bâ, Fatoumata Diabaté, Alimata dite Diop Traoré, Seydou Camara, Mohamed Camara, Emannual Daou and Youssouf Sogodogo exhibit a diversity of aesthetic approaches toward the theme of the body as a nexus of social networks, as a locus of memory, as marked by difference and as a site not only of desire, but of moral instruction. While Mali struggles with the violent after-effects of a military coup that ended two decades of peaceful democracy, these photographs commemorate that period of peace through their varied emphases on social interactions, the tolerance and celebration of difference, the importance given to personal and national memory and the traditional values of moral didacticism.