Lauren

Session 6: Beyond Institutions: Photography’s Expanded Relations

Besides in museums and galleries, I’ve encountered photographs out in the streets in the form of information boards that tell people about the heritage of a particular place. Seeing the photographs close to the real-life landscape or buildings where an event took place makes the photos feel “alive” for me in a different way; I can better picture what a particular place looked like when having a photo close by to compare features. For example, in Cape Town, South Africa there are boards in Heritage Square with photos and maps to explain what the area was like in the early days of the City of Cape Town, and how the townscape has changed over time. The town of Venaria Reale, part of the Metropolitan City of Turin, Italy, has several boards on significant people and places, for example a courtyard which used to be used to water horses when the Royal Palace of Venaria Reale was the seat of the Savoy royal family.

Session 4: Images in Community: How Photographs Travel

Trace one photograph across fi ve platforms. What do you notice about how each platform has presented the photograph? How does each platform make you read the image differently?

I traced a photograph titled “Group of Young Bhutias”, attributed to Fred Ahrle. I first came across this photograph on the website of DAG (formerly the Delhi Art Gallery), as part of its exhibition “Typecasting”. In the context of a professional website by a cultural institution, the historical background of the photograph can be given, which helps the viewer in beginning to understand how and why this photograph came to be. In the article about the exhibition from the newspaper “The Hindu”, the photograph appears again, presented as a small sample of the photographs that can be seen at the full exhibition. I feel that the article takes seriously the intentions of DAG in presenting part of its collection of ethnographic photographs, even though the viewer can’t access more information through an interactive link as on the DAG website. In this case, the photograph acts as an invitation to the viewer to learn more about this photograph and its history (including that of ethnographic photography), and also to learn more about the other photographs in the exhibition.

The same photograph appears on the image portal Alamy, accompanied by the text shown in the image at the link below: “This photograph captures a group of Khasi teenagers in 1865, showcasing the attire and cultural practices of the Khasi people in Meghalaya, India. It reflects the social and cultural aspects of the time.” The photo has Alamy watermarks over it, situating it in the “gallery” of an image licensing portal. It does not mention the context of the ethnographic album which in which it was compiled, its more recent history as part of the DAG exhibition, nor who the photograph was attributed to. It is simply an historical photograph which can be licensed for some purpose that the licensee has in mind. In a similar context to the article from “The Hindu”, the photograph also appears in an Instagram post on the DAG’s page, as part of a sample of photographs which promote the “Typecasting” exhibition. The photograph is accompanied by a brief explanation (necessitated by the nature of the platform) of the exhibition, thereby keeping it contact with its historical context to an extent. Other users may choose to circulate the image of the photograph without that context, which is not the fault of the DAG, but instead a possible side effect of a platform such as Instagram. Lastly, the fifth platform is the physical space of the DAG itself. While I did not see the exhibition in person, I would imagine that I would feel the metaphorical “weight” of the object, since I would be able to see its texture and colour. I feel that in this space, there is also an opportunity to contemplate more of the photograph’s agency: in what pattern I might move around the gallery space, how much time I spend in the area where it is displayed, how its placement “interacts” with the photographs around it, for example.

alamy.com

This photograph captures a group of Khasi teenagers in 1865, showcasing the attire and cultural practices of the Khasi people in Meghalaya, India. It reflects the social and cultural aspects of the time Stock Photo - Alamy

Download this stock image: This photograph captures a group of Khasi teenagers in 1865, showcasing the attire and cultural practices of the Khasi people in Meghalaya, India. It reflects the social and cultural aspects of the time. - J8FXJW from … Continue reading

Session 3: Whose Images? Representation, Visibility, and Rights?

Take a look at the photographs in today’s newspaper — without reading the captions. Are you able to make sense of the subjects portrayed here?

Before reading the photo captions, I was able to identify the broad category of the subjects portrayed, in this case, people waiting at a government office to be (hopefully) assisted with accessing a service. The headline already mentioned the South African Social Security Agency (Sassa), and I am aware of its yellow branding. The formations in which people were sitting or standing also gave an idea of the subjects; people were standing and/or sitting mostly in single lines or multiple rows of chairs. Their clothing also gave an idea, since they were dressed in coats, hats, closed shoes, long pants, etc., indicating waiting for a long time in the cold weather (it is currently winter in most parts of South Africa).

Can you still identify which subjects are victims? Read through the captions and reflect on your interpretations.

The people standing or sitting, wrapped in winter clothing, were those I could identify as “victims”, which was confirmed after reading the captions. I have put the word “victims” in quotation marks both because of people experiencing what I would argue is a type of state violence (with deep-rooted problems stemming from South Africa’s horrific history of colonialism and apartheid), and because people are still trying to do something to make things even somewhat better, despite the obstacles stacked in their path.

The expressions on their faces and often their posture pointed to their being portrayed as the “victims” in the photos. Their mouths are set in straight lines, some have furrowed brows, and some have looks of concentration on their faces. Some seem bowed against the cold or perhaps against the exertions of travelling long distances early in the morning, only to be unable to receive help that day.

Sassa grant reviews strand beneficiaries in systemic chaos

Session Two: Unstable Objects: Photography, Social Change, and Dissent

I found three versions of a photograph showing Mahatma Gandhi leading a group of people during the 1930 Salt March, which was part of a wider campaign of civil disobedience to protest British rule over India. The first version of the photo is close-cropped and seems to create a point of focus on Gandhi and was found on a blog site as part of a header image. The second version was found here: https://www.alamy.com/stock-image-scenes-during-mahatma-gandhis-famous-salt-march-this-march-on-foot-162592623.html. The second photo shows more of the people who marched alongside Gandhi and gives an idea of the place where they marched (as foliage is shown in the background). The third photo shows a colour version of the photo, also from a blog, which has cropped out the man with a moustache on the far right of the Alamy photo. I think creating a focus on one person visually perhaps also focuses — whether intentionally or not — on one person’s story and therefore agency. Adding colour to a photo may help to create a wider appeal to audiences of different generations who may be more used to seeing colour photographs. However, this may also make the photograph more difficult to date, as the original all-over colour and/or texture of a photo may tell us about what photographic process was used, thereby giving an approximate timeline of when the photo was made.

alamy.com

Scenes during Mahatma Gandhi’s famous Salt March. This march on foot to the sea coast at Dandi, on the eve of the Salt Satyagraha, 1930. This peaceful resistance was part of Gandhi's Non-violent opposition to British rule in India Stock Photo - Alamy

Download this stock image: Scenes during Mahatma Gandhi’s famous Salt March. This march on foot to the sea coast at Dandi, on the eve of the Salt Satyagraha, 1930. This peaceful resistance was part of Gandhi's Non-violent opposition to British … Continue reading

Session One: Seeing Historically: Photography, Knowledge, and Power

Questions about the photograph: Why did the photographer choose that particular backdrop, table and vase of flowers as the props appearing with the boys? Who decided on the pose? Were the boys uncomfortable while holding the pose, assuming that they might have had to stay still for some time during the development process? Who decided what clothes and jewelry the boys would wear?

Session One: Seeing Historically: Photography, Knowledge, and Power

The photograph is titled “Two Maratha boys from Akalkot”; by Hurrychund Chintamon, India; 1867, found on the Encyclopedia section of Impart, by the Museum of Art & Photography (MAP), Bengaluru.

The two boys are the focus of the photograph, judging by their position at either side of the photograph. The photograph appears to be posed, rather than spontaneous. The backdrop behind them looks like that from a photographer’s studio, since it is plain aside from a “classical”-looking vase that reminds me of architectural decorations on classical or neo-classical buildings. The lighting draws attention to their garments and detailed jewelry (e.g. the delicate chains that connect to a ring worn on one finger). The textiles making up the garments looks like a type of Indian brocade embroidered with zari. The boys appear to come from a wealthy family, judging by their garments, jewelry, accessories (perhaps more accurately weapons?) and the fact that the photograph is formally posed inside a photographer’s studio.

I cannot tell if the climate of the area where the photo was taken influenced the comfort of the sitters during the session, and if it influenced the development of the photo itself. I cannot tell if the boys were willing to be photographed or obliged their parents/caregivers. I am unsure if the studio was in the same area that the boys came from, or if they travelled a long way to reach the studio. I don’t know whether the photograph was taken for a family album or other purposes.

Hello, I’m Lauren Fonto, and I’m studying a Master’s degree in Heritage Conservation in South Africa. My dissertation research focuses on cleaning gilded wood with a combination of gel and solvent. I’m also interested in the conservation of books, paper and archival materials.