Photographs have had an integral and complex role in many anthropological contexts, from fieldwork to museum exhibitions. This book explores how approaching anthropological photographs as 'history' can offer both theoretical and empirical insights into these roles. Photographs are thought to make problematic history because of their ambiguity and 'rawness'. In short, they have too many meanings. The author refutes this prejudice by exploring, through a series of case studies, precisely the potential of this raw quality to open up new perspectives. Taking the nature of photography as her starting point, the author argues that photographs are not merely pictures of things but are part of a dynamic and fluid historical dialogue, which is active not only in the creation of the photograph but in its subsequent social biography in archive and museum spaces, past and present. In this context, the book challenges any uniform view of anthropological photography and its resulting archives. Drawing on a variety of examples, largely from the Pacific, the book demonstrates how close readings of photographs reveal not only western agendas, but also many layers of differing historical and cross-cultural experiences. That is, photographs can 'spring leaks' to show an alternative viewpoint. These themes are developed further by examining the dynamics of photographs and issues around them as used by contemporary artists and curators and presented to an increasingly varied public. This book convincingly demonstrates photographs' potential to articulate histories other than those of their immediate appearances, a potential that can no longer be neglected by scholars and institutions.
The Centre for Internet & Society (n.d.) Internet Histories, The Centre for Internet & Society, available at: http://cis-india.org/raw/internet-histories Friedman, T. L. (2005) The World is Flat: A Brief History of the Twenty-First ...
C. C. Fagg, an active participant in Britain's regional survey movement, where the camera served as the ... H. D. Gower et al., The Camera as Historian: A Handbook to Photographic Record Work for Those Who Use a Camera and for Survey or ...
In photographs by Wilhelm Hermann we can see that the property had a wooden fence around it , made of sturdy poles joined by logs . Edith Bleek would recall a bit of green beyond the garden gate.'16 This was on the downward slope and ...
Prodger, Darwin's Camera, xxi- xxiv and 220–224; Daston and Galison, Objectivity, 120–164; Edwards, Raw Histories, 133. 98. Prodger, Darwin's Camera, xxii; Edwards, Raw Histories, 38; Ryan, Picturing Empire, 47. 99.
... 1996); Elizabeth Edwards, Raw Histories: Photographs, Anthropology and Museums (London: Routledge, 2001). ... Bring Us Messages: Photographs and Histories from the Kainai Nation (Toronto: University of Toronto Press, 2006).
On photography and performativity see Edwards, Raw Histories, pp. 5–6, and Elizabeth Edwards, Photography and the Material Performance of the Past. History and Theory 48, 2009: 130–50. 23 Marcus Banks and Richard Vokes, ...
71 The dia orchestrated their move to the main Musqueam reserve at the mouth of the Fraser River at the request of the entrepreneur H. Bell-Irving, who wanted the land for his salmon cannery operations. What became “policy,” and which ...
Art, Barnett believed, encapsulated moral truths, allowing viewers to “grow in sensitivity and imagination,” refining working-class tastes and lives through culture.110 As Canon Lyttleton, chairman of the Art for Schools Association, ...
The city is the locus of the collective memory. The relationship between the locus and the citizenry then becomes the city's predominant image, both of architecture and of landscape, and as certain artifacts become part of its memory, ...
For broader discussion of the movement of photographs, see Edwards, Raw Histories; and Bruno Latour, “Drawing Tings Together” in Representation in Scientifc Practice, eds. Michael Lynch and Steve Woolgar (Cambridge, MA: Te MIT Press, ...