Photography and Culture

Extending Photography: the Meta-Medial/Conversational Layers of Dematerialized Photographs

Voices from the Front Line: Young People Interrogating Railton Road’s Heritage

The Visibility of Bedouin Women in the Negev as Reflected in the Private Photographic Collection of Dr Ben Assa

What We Don’t Talk About When We Talk About Photography and Participation

Toward an Emancipation of Photographic Vision: “Visualism” Under Czechoslovakian “Normalization” (1968–89)

The Frank G. Speck Archive at the American Philosophical Society

Unmasked: Notes on Joan de la Malla’s “The Sad Clown”

From Local History to Global Visual Culture: The Evolution of Baltic Photography on the Threshold of the Twenty-First Century

Stasi Surveillance Photographs and Extra-Archival Legacy

Digital Realities and Virtual Ideals: Portraiture, Idealism and the Clash of Subjectivities in the Post-Digital Era

Photography as Dialogue

Seeing With Photography Collective

Introduction: Photography in Transitioning European Communist and Post-Communist Histories

Notes for an Epilogue

The Great Lakes: Accumulations

Corresponding Associations: the Poetics and Limits of Photography as Dialogue

Land as Natural Resource: Representations of Mining in Contemporary South African Landscape Photography

Haunting Legacies: Family and Archival Photographs in Aleksandra Garlicka’s Taxonomy of Polish Society (1985–95)

The Impossible Photograph: Blur and Domestic Violence

Photographic Collections in Post-Soviet Russia and the Development of Russian Photographic Scholarship

(Un)photographing Peace

“Broken Threads of Varying Colors and Tones”: A Souvenir Album of the Phoenix Indian School (1904)

An Archival Dialogue: the Nepal Picture Library’s Feminist Memory Project

Mapping with a Car and a Camera: Ralph Bagnold in the Libyan Desert

A National Complex: Institutional Photography in Hungary Since 1980

The Ethical Challenges of Photography in a Black and White World

Four Saints in Three Acts: A Snapshot of the American Avant-Garde in the 1930s and Lessing Presents Lessing

The George Wilson Collection

“Nobody understands what is beautiful and what is not”: Governing Soviet Amateur Photography, Photography Clubs and the Journal Sovetskoe Foto