This article examines the implications of the surrealist appropriation and re‐circulation of a cr... more This article examines the implications of the surrealist appropriation and re‐circulation of a crime‐scene photograph depicting the body of Mary Kelly, Jack the Ripper's final victim. The article traces the trajectory of the photograph, taken in 1888, as it shifts from its role as a ...
RACAR, revue d'art canadienne, Canadian art review, 2005
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'
With the aim of analyzing relationships between photography, empathy, viewing contexts, and circu... more With the aim of analyzing relationships between photography, empathy, viewing contexts, and circulation, this article examines two case studies where contemporary photographers have depicted injection drug users over a period. It uses Gruen's theory of entangled empathy, a way of practicing empathy that derives from an ethics of care, to analyze them. In the online series The Faces of Addiction, 2011-2015, Chris Arnade documented the lives of several subjects in the Hunts Point area of the Bronx, New York City. Arnade's goals were to use photography to reach a wide audience, to humanize drug users, and to reveal the structural inequalities that he believed caused addiction. Viewers engaged with the photographs on social media. In the second case, Canadian photographer Tony Fouhse depicted Stephanie MacDonald, a woman he met on the street in Ottawa, as she struggled through drug dependence, a health crisis, and recovery. This project is entitled Live Through This, 2013. Fouhse's audience viewed the photographs in the more traditional spaces of art gallery and photography book. He also workshopped some of the photographs on his blog. These differing projects and viewing contexts elicit a range of empathic engagements with the photographs and the subjects depicted in them. Examining such photographic projects through the lens of entangled empathy reveals potential policy implications.
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
The first monograph to analyze the Surrealist gesture of photographic appropriation, this study e... more The first monograph to analyze the Surrealist gesture of photographic appropriation, this study examines "found" photographs in three French Surrealist reviews published in the 1920s and 1930s: La Révolution surréaliste, edited by André Breton; Documents, edited by Georges Bataille; and Minotaure, edited by Breton and others. The book asks general questions about the production and deployment of meaning through photographs, but addresses more specifically the construction of a Surrealist practice of photography through the gesture of borrowing and re-contextualization—and reveals something crucial both about Surrealist strategies and about the way photographs operate. The book is structured around four case studies, including scientific photographs of an hysteric in Charcot's clinic at the Salpêtrière hospital, positioned as poetry rather than pathology; and one of the first crime-scene photographs, depicting Jack the Ripper's last victim, radically transformed into a work of art. Linda Steer traces the trajectory of the found photographs, from their first location to their location in a Surrealist periodical. Her study shows that the act of removal and re-framing highlights the instability and mutability of photographic meaning—an instability and mutability that has consequences for our understanding both of photography and of Surrealism in the 1920s and 1930s.
To cite this article: Linda M. Steer (2014) On Connecting, Photography and Culture, 7:1, 79-81 To... more To cite this article: Linda M. Steer (2014) On Connecting, Photography and Culture, 7:1, 79-81 To link to this article: http://dx.
This article examines the implications of the surrealist appropriation and recircularion of a cri... more This article examines the implications of the surrealist appropriation and recircularion of a crime-scene photograph depicting the body of Mary Kelly, iack the Ripper's fina1 victim. The arlicle traces the trajectory of the photograph,.taken in tS'Sb, or it shifts from its role as a visual police record in London' to evidence of sexual sadism in the developing field of criminology in France, before fir-rally becoming an object in the text ofa p1ay,'Regards sur I',enfer anthropoclasique" by surrealisi Maurice Heine, and being published in 1936 along with that play in Minotaure, a luxury art review. As it is re-framed in various contexts, however, the photograph ..tains some of its prior meaning. A key point in.the.argument is that ihis kind'of appropriation reveals how photographic meaning is produced and anchored.
The first monograph to analyze the Surrealist gesture of photographic appropriation, this study e... more The first monograph to analyze the Surrealist gesture of photographic appropriation, this study examines "found" photographs in three French Surrealist reviews published in the 1920s and 1930s: La Révolution surréaliste, edited by André Breton; Documents, edited by Georges Bataille; and Minotaure, edited by Breton and others. The book asks general questions about the production and deployment of meaning through photographs, but addresses more specifically the construction of a Surrealist practice of photography through the gesture of borrowing and re-contextualization—and reveals something crucial both about Surrealist strategies and about the way photographs operate. The book is structured around four case studies, including scientific photographs of an hysteric in Charcot's clinic at the Salpêtrière hospital, positioned as poetry rather than pathology; and one of the first crime-scene photographs, depicting Jack the Ripper's last victim, radically transformed into a work of art. Linda Steer traces the trajectory of the found photographs, from their first location to their location in a Surrealist periodical. Her study shows that the act of removal and re-framing highlights the instability and mutability of photographic meaning—an instability and mutability that has consequences for our understanding both of photography and of Surrealism in the 1920s and 1930s.
*** To view the full syllabus, go to the Prezi that is linked in this presentation. ***
I co-tau... more *** To view the full syllabus, go to the Prezi that is linked in this presentation. ***
I co-taught this course with Linda Steer, using Reacting to the Past resources. The syllabus includes lots of additional material related to historical perspective.
This article examines the implications of the surrealist appropriation and re‐circulation of a cr... more This article examines the implications of the surrealist appropriation and re‐circulation of a crime‐scene photograph depicting the body of Mary Kelly, Jack the Ripper's final victim. The article traces the trajectory of the photograph, taken in 1888, as it shifts from its role as a ...
RACAR, revue d'art canadienne, Canadian art review, 2005
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l'
With the aim of analyzing relationships between photography, empathy, viewing contexts, and circu... more With the aim of analyzing relationships between photography, empathy, viewing contexts, and circulation, this article examines two case studies where contemporary photographers have depicted injection drug users over a period. It uses Gruen's theory of entangled empathy, a way of practicing empathy that derives from an ethics of care, to analyze them. In the online series The Faces of Addiction, 2011-2015, Chris Arnade documented the lives of several subjects in the Hunts Point area of the Bronx, New York City. Arnade's goals were to use photography to reach a wide audience, to humanize drug users, and to reveal the structural inequalities that he believed caused addiction. Viewers engaged with the photographs on social media. In the second case, Canadian photographer Tony Fouhse depicted Stephanie MacDonald, a woman he met on the street in Ottawa, as she struggled through drug dependence, a health crisis, and recovery. This project is entitled Live Through This, 2013. Fouhse's audience viewed the photographs in the more traditional spaces of art gallery and photography book. He also workshopped some of the photographs on his blog. These differing projects and viewing contexts elicit a range of empathic engagements with the photographs and the subjects depicted in them. Examining such photographic projects through the lens of entangled empathy reveals potential policy implications.
Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y ... more Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter en ligne.
The first monograph to analyze the Surrealist gesture of photographic appropriation, this study e... more The first monograph to analyze the Surrealist gesture of photographic appropriation, this study examines "found" photographs in three French Surrealist reviews published in the 1920s and 1930s: La Révolution surréaliste, edited by André Breton; Documents, edited by Georges Bataille; and Minotaure, edited by Breton and others. The book asks general questions about the production and deployment of meaning through photographs, but addresses more specifically the construction of a Surrealist practice of photography through the gesture of borrowing and re-contextualization—and reveals something crucial both about Surrealist strategies and about the way photographs operate. The book is structured around four case studies, including scientific photographs of an hysteric in Charcot's clinic at the Salpêtrière hospital, positioned as poetry rather than pathology; and one of the first crime-scene photographs, depicting Jack the Ripper's last victim, radically transformed into a work of art. Linda Steer traces the trajectory of the found photographs, from their first location to their location in a Surrealist periodical. Her study shows that the act of removal and re-framing highlights the instability and mutability of photographic meaning—an instability and mutability that has consequences for our understanding both of photography and of Surrealism in the 1920s and 1930s.
To cite this article: Linda M. Steer (2014) On Connecting, Photography and Culture, 7:1, 79-81 To... more To cite this article: Linda M. Steer (2014) On Connecting, Photography and Culture, 7:1, 79-81 To link to this article: http://dx.
This article examines the implications of the surrealist appropriation and recircularion of a cri... more This article examines the implications of the surrealist appropriation and recircularion of a crime-scene photograph depicting the body of Mary Kelly, iack the Ripper's fina1 victim. The arlicle traces the trajectory of the photograph,.taken in tS'Sb, or it shifts from its role as a visual police record in London' to evidence of sexual sadism in the developing field of criminology in France, before fir-rally becoming an object in the text ofa p1ay,'Regards sur I',enfer anthropoclasique" by surrealisi Maurice Heine, and being published in 1936 along with that play in Minotaure, a luxury art review. As it is re-framed in various contexts, however, the photograph ..tains some of its prior meaning. A key point in.the.argument is that ihis kind'of appropriation reveals how photographic meaning is produced and anchored.
The first monograph to analyze the Surrealist gesture of photographic appropriation, this study e... more The first monograph to analyze the Surrealist gesture of photographic appropriation, this study examines "found" photographs in three French Surrealist reviews published in the 1920s and 1930s: La Révolution surréaliste, edited by André Breton; Documents, edited by Georges Bataille; and Minotaure, edited by Breton and others. The book asks general questions about the production and deployment of meaning through photographs, but addresses more specifically the construction of a Surrealist practice of photography through the gesture of borrowing and re-contextualization—and reveals something crucial both about Surrealist strategies and about the way photographs operate. The book is structured around four case studies, including scientific photographs of an hysteric in Charcot's clinic at the Salpêtrière hospital, positioned as poetry rather than pathology; and one of the first crime-scene photographs, depicting Jack the Ripper's last victim, radically transformed into a work of art. Linda Steer traces the trajectory of the found photographs, from their first location to their location in a Surrealist periodical. Her study shows that the act of removal and re-framing highlights the instability and mutability of photographic meaning—an instability and mutability that has consequences for our understanding both of photography and of Surrealism in the 1920s and 1930s.
*** To view the full syllabus, go to the Prezi that is linked in this presentation. ***
I co-tau... more *** To view the full syllabus, go to the Prezi that is linked in this presentation. ***
I co-taught this course with Linda Steer, using Reacting to the Past resources. The syllabus includes lots of additional material related to historical perspective.
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I co-taught this course with Linda Steer, using Reacting to the Past resources. The syllabus includes lots of additional material related to historical perspective.
I co-taught this course with Linda Steer, using Reacting to the Past resources. The syllabus includes lots of additional material related to historical perspective.