Deborah Schultz – författare

This collection of chapters investigates the effects of mobility and place on a range of photographic archives and explores their potential for cross-disciplinary dialogue.

The book explores photographic images used in the study of art, as well as the implications of placing European images of non-European cultures in an archive, album, library, or museum. It also addresses questions of digital space, which renders images more visually accessible, but further complicates issues relating to location. The contributors consider these issues through case studies based on a variety of archives, institutions, and disciplines. Just as photographs are conceived as unstable objects, so conventional borders between disciplines and locations are challenged and opened up with chapters drawing on a range of disciplinary theories and practices. The focus of the individual chapters is global, as seen in contributions not only on Euro-American topics, but also on Orientalizing approaches to photographing the Ancient Near East, photographic archives of Bedouin subjects, and digital photographic archives in an Iranian context.

This book will be of interest to scholars of art history, visual and cultural studies, anthropology, and archaeology, as well as those working on the history and theory of photography, and histories and theories of the archive.

This collection of chapters investigates the effects of mobility and place on a range of photographic archives and explores their potential for cross-disciplinary dialogue.

The book explores photographic images used in the study of art, as well as the implications of placing European images of non-European cultures in an archive, album, library, or museum. It also addresses questions of digital space, which renders images more visually accessible, but further complicates issues relating to location. The contributors consider these issues through case studies based on a variety of archives, institutions, and disciplines. Just as photographs are conceived as unstable objects, so conventional borders between disciplines and locations are challenged and opened up with chapters drawing on a range of disciplinary theories and practices. The focus of the individual chapters is global, as seen in contributions not only on Euro-American topics, but also on Orientalizing approaches to photographing the Ancient Near East, photographic archives of Bedouin subjects, and digital photographic archives in an Iranian context.

This book will be of interest to scholars of art history, visual and cultural studies, anthropology, and archaeology, as well as those working on the history and theory of photography, and histories and theories of the archive.

This book investigates creative responses to the Nazi period in the work of three artists, Felix Nussbaum, Charlotte Salomon and Arnold Daghani, focusing on their use of pictorial narrative. It analyses their contrasting aesthetic strategies and their innovative forms of artistic production. In contrast with the autonomous, modernist art object, their works were explicitly linked with the historical conditions under which they were produced – the pressures of persecution and exile. Conditions in the slave labour camps and ghettos in the Ukraine, which shaped the paintings and drawings of Daghani, are contrasted with the experiences of exile in Belgium and France, which inspired Nussbaum and Salomon. In defiance of conventional artistic practice, they produced word-image combinations that can be read as narrative sequences, incorporating specific references to political events. While there has been a wealth of literary, philosophical and historical studies relating to the Holocaust, aesthetic debate has developed less extensively. This is the first comparative study of three artists who are only belatedly achieving recognition and the recent reception of their work is evaluated. By identifying the aesthetic principles and narrative strategies underlying their work, the book reassesses their achievement in creating new forms of modernism with an unmistakable political momentum.

This book was published as a special issue of Word & Image.

This book investigates creative responses to the Nazi period in the work of three artists, Felix Nussbaum, Charlotte Salomon and Arnold Daghani, focusing on their use of pictorial narrative. It analyses their contrasting aesthetic strategies and their innovative forms of artistic production. In contrast with the autonomous, modernist art object, their works were explicitly linked with the historical conditions under which they were produced – the pressures of persecution and exile. Conditions in the slave labour camps and ghettos in the Ukraine, which shaped the paintings and drawings of Daghani, are contrasted with the experiences of exile in Belgium and France, which inspired Nussbaum and Salomon. In defiance of conventional artistic practice, they produced word-image combinations that can be read as narrative sequences, incorporating specific references to political events. While there has been a wealth of literary, philosophical and historical studies relating to the Holocaust, aesthetic debate has developed less extensively. This is the first comparative study of three artists who are only belatedly achieving recognition and the recent reception of their work is evaluated. By identifying the aesthetic principles and narrative strategies underlying their work, the book reassesses their achievement in creating new forms of modernism with an unmistakable political momentum.

This book was published as a special issue of Word & Image.