Familifotografiet mellem det private og det kollektive

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    Familifotografiet mellem det private og det kollektive - Presentation Transcript

      • Mette Sandbye
      • Københavns Universitet
      • Institut for Kunst- og Kulturvidenskab
      • LFF, juni 2009:
      • Familiefotografiet
      • mellem det personlige
      • og det kollektive
      • Hvorfor dette emne?
      • Hvad har mit eget fag skrevet om det?
      • Ex. på materiale
      • Hvad er de fagligt-metodologiske udfordringer ?
    1. 1. Hvorfor? Generel interesse i amatørfotografi
      • Kunstnere i 60-70erne
      • Nutidige kunstnere
      • Medier og institutioner
      • Samlere
      • Mindesmærker. Tid og erindring i fotografiet (2001)
      • Kedelige billeder. Fotografiets snapshotæstetik, 2007
      • Dansk Fotografihistorie (red.), 2004
    2. Christian Boltanski: Sans-Souci , 1991
    3. Lene Adler Petersen, Bjørn Nørgaard: Dette er ingen drøm , 1981
    4. Jytte Rex: ”Fra en restaurationspiges dagbog” i Jeg har ikke lukket et øje – en billedroman , 1978
    5.  
    6. 2. Hvad er der skrevet?
      • James Elkins (ed.): Photography Theory , 2007.
      • Fotohistorierne: Newhall, Frizot, Warner Marien ( Photography. A Cultural History )
      • Bourdieu, Pierre (m. L. Boltanski, R. Castel, J.C. Chamboredon): Un art moyen . Essai sur les usages sociaux de la photographie . Éd. de Minuit, Paris 1965. Photography. A Middle-brow Art.
      • Patricia Holland: “’Sweet it is to scan…’: personal photographs and popular photography”. In Liz Wells (ed): Photography. A critical introduction . 2000:
      • ” While family pictures, on the surface, act as social documents, a closer examination reveals the complex of interrelations and scandals that weave through the soap opera of personal life”.
      • They can reveal: ”the trauma of an ordinary childhood. Revelations about child abuse and family discord indicate that worse horrors may underlie the aspirational surface of the innocent family snapshot. Family secrecy can give way to family horror story”.
      • Thomas Walther: Other Pictures. Anonymous photographs from the Thomas Walther Collection. Metropolitan Museum of Art in New York, 2000.
      • Snapshots: The Photography of Everyday Life, 1888 to the present , San Francisco Museum of Modern Art, 1998.
      • Walther:
      • “ They document a profound innocence, tremendous pride and a unique sense of humor in American society. There is no faking, no strain, no theory here, only the simplicity and directness of capturing moments of life….”
      • Found Photo Galleries
      • http://squareamerica.com / great found photos
      • http://www.tbl.squareamerica.com/ http://www.renewal.org.au/object / more great found photos
      • http://www.kodakgirl.com an incredible collection of snaps portraying women holding cameras
      • “a family of objects without their rightful owners...”
      • http://www.pjchmiel.com/feat/126party/ photos found in a thrift store camera
      • http://www.foundphotograph.com / a found photo blog
      • http://www.heudnsk.com/abandoned /abandoned_photo_museum_001.htm “all found on the sidewalk, mostly in Philadelphia”
      • http://theimaginaryworld.com/page4.html kid and food related ephemera from the 1940s through the 1970s (includes galleries of snapshots and other vernacular photos)
      • http://phototaken.my-expressions.com/slides.html found slides
      • http://www.people.virginia.edu/~ds8s/ a found photo gallery, part of larger still photography website called Fixing Shadows
      • http://swapatorium.blogspot.com / flea market finds (see also snapatorium – a snapshot sales site)
      • http://www.bighappyfunhouse.com / a vintage snapshot blog
      • http://oldhaunts.blogspot.com / Halloween-related ephemera and vintage snaps
      • http://santaandme.blogspot.com / Santa-related ephemera and vintage snaps
      • http://ookpiksnegz.blogspot.com / a vernacular photography blog
      • http://www.sappho.com / lesbian-themed ephemera and vintage photos
      • http://www.accidentalmysteries.com/home.html a stunning collection of vernacular photography
      • http://juniorbonner.blogspot.com/2005/07/ http:// www.flickr.com/photos/leastwanted/sets / vintage mug shots
      • http://www.houseplantpicturestudio.com/HPS / liquorwebfotos/liquor.html photos of an unknown family who probably owned a liquor store
      • http://www.squidoo.com/vernacularphoto/#module1296405 a website about vernacular photography — includes galleries of vernacular photos from Nova Scotia, and found photos that originally belonged to a man from Brooklyn       join our mailing list view trailer buy film schedule screening buy poster contact
      •   finteractive sites snapshot sales sites archives and resources if you like Other People's Pictures ebay dealers books of vernacular photos ound photo galleries
      •  
    7. 3. Materialeeksempler: to albums fra Chicago
      • Oli Watt, f. 1968
      • Benjamin Wham, f. 1964
      • (slides med eksempler fra album udtaget pga. copyright)
    8. 4. Metodologiske udfordringer?
      • % hvad er fotografi
      • + hvad vi gør med fotografi
      • Foto som relationalt og performativt
      • Hvad og hvordan kommunikerer de?
      • reception og cirkulation
      • Fotografi som kulturel erfaring mellem det personlige og det almene
      • Fotografier som aktive kilder
      • Chris Pinney/Nicolas Peterson (red.): Photography’s Other Histories (2003) + Pinney: Camera Indica (1997 )
      • Elizabeth Edwards & Janice Hart (red.): Photographs. Objects. Histories. On the Materiality of Images (2004)
      • Hvordan studerer vi ’sammehed’?
      • Det typiske ex. vs. den brede empiri
      • Feltarbejde – interviews med albumejere og –skabere
      • Hvor finder jeg albums fra 1950-1980?
      • Familiealbum 60/70erne
      • Digitale albums e. 2000
    9. Familie album
      • repetitive, kedelige, tavse og personlige, ladet med følelser, affekt, livhistorie
      • Afspejler sociale ritualer og konventioner og en personlig, performativ dannelsesproces
      • instrumentel og dybt sentimental praksis
    10. Max Kestner (1969): Rejsen på ophavet, 2004
      • "Da jeg var lille var der altid sne om vinteren og sol om sommeren. Det kan man se på vores familiefotos".
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