Six Leadership Lessons From Photography, Brenda L. Boyd
Aug 2019
Six Leadership Lessons From Photography, Brenda L. Boyd
Brenda Boyd, PhD
"I learned that the photographers who captured unforgettable images all had some things in common: they seemed to know themselves and people; they had vision, passion, and timing; they had an innate ability to communicate effectively; they took risks; and they learned from their mistakes. I also came to realize that as a result of their unique presence—and often their sacrifice—they made a significant and lasting contribution to our world."
The Woman Who Walks Through Photographs, Sharon Sliwinski
Dec 2017
The Woman Who Walks Through Photographs, Sharon Sliwinski
Sharon Sliwinski
This paper explores Michal Heiman's creative strategy to imaginatively enter the space of asylum. Her recent project, RETURN: ASYLUM (THE DRESS, 1855-2018), offers a new way to extend solidarity to people who have been subjugated by the institution. She actively enlists the public's help in developing further strategies for connecting with those individuals who have been bereft of legal rights to property, family, or public hearing. This article explores Heiman's crucial political intervention, which blends creative visual practice with object relations theory.
Creating The Back Ward: The Triumph Of Custodialism And The Uses Of Therapeutic Failure In Nineteenth Century Idiot Asylums, Philip M. Ferguson
Jun 2015
Creating The Back Ward: The Triumph Of Custodialism And The Uses Of Therapeutic Failure In Nineteenth Century Idiot Asylums, Philip M. Ferguson
Philip M. Ferguson
"My focus in this chapter is on the origin of the back ward rather than its demise. Where did the “back wards” that [Burton] Blatt and [Senator Robert] Kennedy witnessed come from in the first place? What 3 exactly were those “antecedents of the problems observed” that Blatt cited? This chapter reviews that history and argues that, in fact, there is a specific narrative to the evolution of the institutional “back ward” as an identifiable place where people with the most significant intellectual disabilities were to be incarcerated and largely forgotten."
The Face Of Our Wartime, Sharon Sliwinski
Dec 2014
The Face Of Our Wartime, Sharon Sliwinski
Sharon Sliwinski
This paper considers a turn toward portraiture amongst contemporary photojournalists who have covered the War on Terror. A series of wartime faces is examined in order to consider the way prolonged conflict flattens our visual landscape.
Inventing Human Dignity, Sharon Sliwinski
Dec 2014
Inventing Human Dignity, Sharon Sliwinski
Sharon Sliwinski
Are human beings endowed with an inviolable dignity? Or is dignity something that is lost and won? One of the most significant assertions made in the 1948 Universal Declaration of Human Rights (UDHR) is the statement that every individual possesses an inalienable dignity simply by virtue of belonging to the “human family.” This chapter aims to make a modest contribution to the emerging scholarship on the history and meaning of dignity as it pertains to universal human rights. My goal is to trace how this particular quality came to be affixed to the human …
The Storyteller: Observations On Murtada Bulbul’S ‘Swineherders’, Sharon Sliwinski
Dec 2012
The Storyteller: Observations On Murtada Bulbul’S ‘Swineherders’, Sharon Sliwinski
Sharon Sliwinski
This review engages Murtada Bulbul's series of photographs of Bangladeshi swineherders (published in this issue), casting the photographer's treatment as that of a storyteller. On one hand, this treatment suggests the importance of visual-cultural forms for the very legibility of human rights. On the other hand, Bulbul's pictures can teach us something about what it means to live a "bare life," that is, to live at the edges of the human community.
Human Rights In Camera, Sharon Sliwinski
Dec 2010
Human Rights In Camera, Sharon Sliwinski
Sharon Sliwinski
From the fundamental rights proclaimed in the American and French declarations of independence to the 1948 Universal Declaration of Human Rights and Hannah Arendt’s furious critiques, the definition of what it means to be human has been hotly debated. But the history of human rights—and their abuses—is also a richly illustrated one. Following this picture trail, Human Rights In Camera takes an innovative approach by examining the visual images that have accompanied human rights struggles and the passionate responses people have had to them.
Autobiography And The Family Frame: Jaret Belliveau's “Dominion Street” At Gallery Tpw, Matthew Ryan Smith
May 2010
Autobiography And The Family Frame: Jaret Belliveau's “Dominion Street” At Gallery Tpw, Matthew Ryan Smith
Matthew Ryan Smith, Ph.D.
Documented over a period of five years, “Dominion Street” presents a visual narrative of love, loss, and life encapsulated within an East Coast milieu. Privy to the Belliveau family’s emotional and physical plights, the artist utilizes an autobiographic frame offering up strikingly informal glimpses of his family.
The Childhood Of Human Rights: The Kodak On The Congo, Sharon Sliwinski
Dec 2009
The Childhood Of Human Rights: The Kodak On The Congo, Sharon Sliwinski
Sharon Sliwinski
This chapter examines the Congo reform movement’s use of atrocity photographs in their human rights campaign (c. 1904–13) against Belgian King Leopold, colonial ruler of the Congo Free State. This material analysis shows that human rights are conceived by spectators who, with the aid of the photographic apparatus, are compelled to judge that crimes against humanity are occurring to others. The article also tracks how this judgement has been haunted by the potent wish to undo the suffering witnessed.
Camera War, Again, Sharon Sliwinski
Dec 2005
Camera War, Again, Sharon Sliwinski
Sharon Sliwinski
The war in Iraq has undoubtedly produced some of the most dreadful entries in the history of camera war.
The Childhood Of Human Rights: The Kodak On The Congo, Sharon Sliwinski
Dec 2005
The Childhood Of Human Rights: The Kodak On The Congo, Sharon Sliwinski
Sharon Sliwinski
This article examines the Congo reform movement's use of atrocity photographs in their human rights campaign (c. 1904–13) against Belgian King Leopold, colonial ruler of the Congo Free State. This material analysis shows that human rights are conceived by spectators who, with the aid of the photographic apparatus, are compelled to judge that crimes against humanity are occurring to others. The article also tracks how this judgement has been haunted by the potent wish to undo the suffering witnessed.
