Decolonize the Lens is a series of discursive events that brought together photographic experts and international scholars to reflect on rethinking the dominant narratives in the history of photography. Over the course of four webinar talks, guest speakers have looked at Egyptian and Northeast African visual cultures in both historical and contemporary settings. Decolonize the Lens brought into focus issues of politics and how photography has empowered the citizen/subject to bring about a richer understanding of difference. The series considers how typically Western approaches to visual history can be de-centered by histories of other senses, such as aural/sound histories. What emerges from our history if we listen to the past instead of lo...
Imagine that the origin of photography goes back to 1492. What could this mean? In this lecture, Ari...
This is the first collection of essays edited by the research group Curating Video. The publication ...
Long neglected as a second-rate art, photography was accommodated in the art museum in the late 1970...
Decolonize the Lens is a series of discursive events that brought together photographic experts and ...
Decolonising the Camera: Photography in Racial Time By Mark Sealy 2015 This thesis argues that ph...
Decolonising the Camera trains Mark Sealy’s sharp critical eye on the racial politics at work within...
This project examines the limitations imposed by photography as an apparatus for enabling memory and...
In the timeline where histories of art and photography intersect, Preziosi, with his statement of "A...
Is it possible to decolonize art? Between art and power, oppositions or alliances are established, b...
Imaging and Imagining Palestine is the first comprehensive study of photography during the British M...
Since the upheaval of social movements for the liberation of formal colonies in the 1960s, and sever...
Stills from video installation. Photographers Tim Pestridge and Seán Goddard.Alessandro Petti, Sand...
Since the upheaval of social movements for the liberation of formal colonies in the 1960s, and sever...
grantor: University of TorontoDocumentary photography of the Civil Rights movement is curr...
Media-culture is an undeniable force in our lives. Its pervasive and pleasurable power has primarily...
Imagine that the origin of photography goes back to 1492. What could this mean? In this lecture, Ari...
This is the first collection of essays edited by the research group Curating Video. The publication ...
Long neglected as a second-rate art, photography was accommodated in the art museum in the late 1970...
Decolonize the Lens is a series of discursive events that brought together photographic experts and ...
Decolonising the Camera: Photography in Racial Time By Mark Sealy 2015 This thesis argues that ph...
Decolonising the Camera trains Mark Sealy’s sharp critical eye on the racial politics at work within...
This project examines the limitations imposed by photography as an apparatus for enabling memory and...
In the timeline where histories of art and photography intersect, Preziosi, with his statement of "A...
Is it possible to decolonize art? Between art and power, oppositions or alliances are established, b...
Imaging and Imagining Palestine is the first comprehensive study of photography during the British M...
Since the upheaval of social movements for the liberation of formal colonies in the 1960s, and sever...
Stills from video installation. Photographers Tim Pestridge and Seán Goddard.Alessandro Petti, Sand...
Since the upheaval of social movements for the liberation of formal colonies in the 1960s, and sever...
grantor: University of TorontoDocumentary photography of the Civil Rights movement is curr...
Media-culture is an undeniable force in our lives. Its pervasive and pleasurable power has primarily...
Imagine that the origin of photography goes back to 1492. What could this mean? In this lecture, Ari...
This is the first collection of essays edited by the research group Curating Video. The publication ...
Long neglected as a second-rate art, photography was accommodated in the art museum in the late 1970...