125 research outputs found
Peace photographies:A short introduction
No full textTom Allbeson is Reader in Media and Photographic History at the School of Journalism, Media and Culture (Cardiff University, UK) and co-editor of the Journal of War and Culture Studies. His research concerns media history and visual culture in contemporary Europe with specialisms in photojournalism and conflict, visual culture and reconstruction, collective memory in post-conflict societies, and urban history. He is the author of Photography, Reconstruction and the Cultural History of the Postwar European City (Routledge, 2020) and co-author of Conflicting Images: Histories of War Photography in the News (Routledge, 2024).Pippa Oldfield is Senior Lecturer in Photography at Teesside University, UK, and former Head of Programme at Impressions Gallery, Bradford. She is the author of Photography and War (2019) and has curated numerous exhibitions on the topic of conflict and its aftermath, including Bringing the War Home: Photographic Responses to Recent Conflict in Iraq and Afghanistan and No Man’s Land: Women’s Photographic Viewpoints on the First World War...
Snapshots from No Man's Land
No full textNo Man’s Land: Women’s Photography and the First World War is a national touring exhibition curated by Pippa Oldfield of Impressions Gallery in Bradford, and co-produced with Bristol Cathedral, The Turnpike, and Bishop Auckland Town Hall, supported by Arts Council England Strategic Touring. The exhibition was held at Impressions Gallery between October and December 2017 and tours to the venues mentioned above in 2018 and 2019. In this Cover Collaboration, Pippa Oldfield reflects on curating an exhibition of war photography by women and the research involved in recovering the work and experiences of women photographers
Once More, with Feeling:Recent Photography from Colombia
No full textOnce more, with feeling’ brings together the work of six contemporary artists from Colombia: Milena Bonilla, Juan Manuel Echavarria, Juan Pablo Echeverri, Maria Elvira Escallon, Oscar Munoz and Maria Isabel Rueda. Using photography and video, their work makes reference to repetition, performance and memory, themes that are expanded in the title essay by co-curators Camilla Brown and Pippa Oldfield. Further specially commissioned essays by Jaime Ceron, Pippa Oldfield and Santiago Rueda Farjado explore the wider context of photography in Colombia. With an extensive biographical and resource section, this book provides a valuable starting point for anyone wishing to find out more about the contemporary photography scene in Colombia
Once More, with Feeling:Recent Photography from Colombia
No full textOnce more, with feeling’ brings together the work of six contemporary artists from Colombia: Milena Bonilla, Juan Manuel Echavarria, Juan Pablo Echeverri, Maria Elvira Escallon, Oscar Munoz and Maria Isabel Rueda. Using photography and video, their work makes reference to repetition, performance and memory, themes that are expanded in the title essay by co-curators Camilla Brown and Pippa Oldfield. Further specially commissioned essays by Jaime Ceron, Pippa Oldfield and Santiago Rueda Farjado explore the wider context of photography in Colombia. With an extensive biographical and resource section, this book provides a valuable starting point for anyone wishing to find out more about the contemporary photography scene in Colombia
Gender at the peace table:Photographic visualizations of peacemaking in the First World War
Get PDFBurgeoning work on peace photography often overlooks gender, despite its centrality to discourses and structures of politics and militarism. This chapter examines the convergence of feminist pacifism and photography in the First World War. The conflict's pre-eminent images of peace depict the victorious signing of the Paris Peace Treaty at Versailles in 1919. Though iconic, these images remain understudied and their gendered power dynamics unremarked. A close reading, however, reveals the ways in which women's absence - and, less obviously, presence - is photographically registered in the masculinist environment of the Hall of Mirrors. Lesser known, but equally compelling, is the photographic corpus of the nascent Women's International League of Peace and Freedom (WILPF), which held peace talks at The Hague in 1915 and Zürich in 1919. By examining the production and dissemination of images both celebratory and defamatory, I assess what is at stake in photographically representing women's pacifism, and reveal the problems and opportunities for visualizing women who 'do' peace. WILPF's photographic tactics, I argue, claimed women's credibility as politically astute beings, with the right - and responsibility - to intervene in international affairs.</p
Elizabeth Beachbard (c.1822–1861): America’s First Woman War Photographer?
No full textDr. Pippa Oldfield, Senior Lecturer in Photography, Teesside University, United Kingdom
Elizabeth Beachbard (c.1822–1861): America’s First Woman War Photographer?
The history of war photography has been dominated by men. Feminist photo historians have challenged this view, bringing to light outstanding women such as Gerda Taro in the Spanish Civil War and Lee Miller in the Second World War. Miller’s and Taro’s frontline photojournalism fits the masculinist canon of “authentic” war photography, but this mode has excluded most women. What happens if we go beyond the limits of the genre? Who else might come into view?
In this paper, I present the first dedicated research into Elizabeth Beachbard, a forgotten photographer who worked in Louisiana during the American Civil War (1861–1865). I chart her trajectory from an ambrotype portrait studio in New Orleans to a makeshift cabin in a military camp in rural Louisiana, where she photographed Confederate soldiers during the summer of 1861. It\u27s a tale of twists and turns, including court cases, bigamy, a measles epidemic, and a devastating fire. One of my biggest finds is new evidence for an ambrotype hitherto unattributed to Beachbard, which constitutes only the third surviving example of her work.
While questions of gender are central to my paper, I shall not be arguing for essentialist notions of “feminine” photography. Instead, I highlight the gendered constraints of the epoch showing how Beachbard navigated social, political, economic and legal structures. It is ironic that portraiture, one of the few professions open to “respectable” women, was how Beachbard entered the masculine territory of a wartime army camp.
Elizabeth Beachbard could not be considered a war photographer in the conventional sense. Nonetheless, she worked in a military arena, made pictures of soldiers in wartime, and lost her life in the activity. She should be seen as a pioneering figure in the history of women’s photography: perhaps, even, as America’s first woman war photographer.
Dr. Pippa Oldfield is a curator and photo-historian with research specialisms in photography, gender and conflict. She is Senior Lecturer in Photography at Teesside University, UK, and former Head of Programme at Impressions Gallery, one of the UK’s leading photography spaces. Pippa has curated numerous touring exhibitions including ‘No Man’s Land: Women’s Photography and the First World War’ (2017-2019). She is the author of Photography and War (Reaktion 2019) and is currently working on her new monograph, Ungentle Camera: War and Women’s Photography for University of Texas Press
Journeys towards light
No full textNewsha Tavakolian (1981, Tehran), a Magnum Photos member, is an Iranian photographer, visual artist, filmmaker and educator known for her work that captures the human condition. Tavakolian began her career in photography at a young age, eventually becoming a prominent figure in the field. Her photography is characterized by its evocative storytelling and her keen eye for capturing the delicate emotions that shape us as humans. She has covered a wide range of topics, from the challenges faced by women in Iran and worldwide to the aftermath of tensions in conflict zones. Her work often combines artistry with documentary, blurring the lines between reality and the imagined. In this specially commissioned interview, she discusses her motivations for taking pictures, the ethical implications of photographing in post-conflict situations, and the media currency of images of peace and war.</p
Once more, with feeling: recent photography from Colombia
No full text'Once more, with feeling' brings together the work of six contemporary artists from Colombia: Milena Bonilla, Juan Manuel Echavarria, Juan Pablo Echeverri, Maria Elvira Escallon, Oscar Munoz and Maria Isabel Rueda.
Using photography and video, their work makes reference to repetition, performance and memory, themes that are expanded in the title essay by co-curators Camilla Brown and Pippa Oldfield. Further specially commissioned essays by Jaime Ceron, Pippa Oldfield and Santiago Rueda Farjado explore the wider context of photography in Colombia.
With an extensive biographical and resource section, this book provides a valuable starting point for anyone wishing to find out more about the contemporary photography scene in Colombia
Bringing the War Home
No full textChallenging the conventions of traditional war photography, Bringing the War Home draws together powerful photographic responses that connect both directly and in directly with the recent conflicts in Iraq and Afghanistan.The international selection of artists includes Farhad Ahrarnia, Sama Alshaibi, Lisa Barnard, Adam Boomberg and Oliver Chanarin, Edmund Clarke, Kay May, Asef Ali Mohammed, Christopher Sims, and Peter Van Agtmael. Their work features the viewpoints of women, non-combatants, and Iraqis and Afghans; amateur and non-official imagery such as soldier’s graffiti and personal digital photos; and images reflecting the far-reaching effects of war away from the battle zone.With a foreword by Hilary Roberts, Senior Curator of Photographs at the Imperial War Museum, and essay by Pippa Oldfield, Head of Programme at Impressions Gallery and the exhibition’s curator, this publication offers a valuable insight into new approaches to conflict photography
Bringing the War Home
No full textChallenging the conventions of traditional war photography, Bringing the War Home draws together powerful photographic responses that connect both directly and in directly with the recent conflicts in Iraq and Afghanistan.The international selection of artists includes Farhad Ahrarnia, Sama Alshaibi, Lisa Barnard, Adam Boomberg and Oliver Chanarin, Edmund Clarke, Kay May, Asef Ali Mohammed, Christopher Sims, and Peter Van Agtmael. Their work features the viewpoints of women, non-combatants, and Iraqis and Afghans; amateur and non-official imagery such as soldier’s graffiti and personal digital photos; and images reflecting the far-reaching effects of war away from the battle zone.With a foreword by Hilary Roberts, Senior Curator of Photographs at the Imperial War Museum, and essay by Pippa Oldfield, Head of Programme at Impressions Gallery and the exhibition’s curator, this publication offers a valuable insight into new approaches to conflict photography
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