Hot off the desk! Just finished two new research articles for the January 15 deadline. These articles offer insights into two major photography exhibitions of the 1950s that have shaped the history of postwar photography - The Family of Man and Photokina 1956.
Read moreTalk about Brazilian photographer José Oiticica Filho in Galeria MaPA, São Paulo, Brazil
This summer, I had the honor to contribute to a conference dedicated to the Brazilian photographer José Oiticica Filho (Rio de Janeiro, 1906–1964). The conference took place on August 22, 2017, and coincided with an exhibition of his work in Galeria MaPA, São Paulo, July 11 - August 31, 2017. I was invited by art historian and curator Marly Porto.
Read moreInterview for Revista Zum, a Brazilian photography magazine
An interview with me published in the Brazilian photography magazine Revista Zum on July 17, 2017. In Portuguese.
Read moreI'm excited to present my research on Brazilian postwar photography
I'm excited to present my research on Brazilian postwar photography. My paper, "Bandeirante photographers in global context: Brazilian participation in FIAP, 1950–1965" is included in the program of the conference In Black and White: Photography, Race, and the Modern Impulse in Brazil at Midcentury.The conference takes place at the Martin E. Segal Theater, The Graduate Center, City University of New York (365 Fifth Avenue), May 3, 2017.
Read moreMy article "Rules of the Photographers' Universe" in Photoresearcher
I'm honored to see my latest research article, "Rules of the Photographers' Universe," published in the April 2017 issue of Photoresarcher, a prestigious European photography magazine.
Read moreThrilled to speak at the conference "Art, Institutions, and Internationalism: 1933–1966"
I am thrilled to present the findings of my on-going research in paper "The Misunderstood 'Universal Language' of Photography: The Fourth FIAP Biennial, 1956" at the conference Art, Institutions, and Internationalism: 1933–1966. The conference takes place at the Graduate Center, City University of New York, March 7, 2017.
Read moreI'm presenting my latest research at the CAA 2017, New York City
I am very excited to present my latest research at the CAA 2017 in New York City. I am presenting my paper, The “Cosmopolitan Art”: The FIAP Yearbooks of Photography, 1954–60 at the session "Photography in Print" at the Gramercy A/West (2nd Floor), New York Hilton Midtown, Friday, February 17, 2017, 10:30am–12:00 noon.
Read moreDefining competitive photography
In this article, I introduce a term competitive photography and define its historical emergence in the international juried exhibitions of photography in the 1950s. I believe that this term, competitive photography. brings into focus a large segment of photographic practices, contemporary and historical alike, which so far has escaped the attention of scholars.
Read moreClash of theories: New Objectivity versus Subjective Photography
In an interesting historical turn, what was meant to be non-art, became the very epitome of art (as exemplified by Albert Renger-Patzsch’s followers), whereas the most artistic photography of the 1950s (Otto Steinert’s Subjective Photography) turned out to be a dead end, at least from the perspective of today's art history.
Read moreGisèle Freund about women photographers
Gisèle Freund in 1954 wrote that "Women are interested in things more than in their relations to each other. They are not easily attracted by political or current events, but they distinguish themselves in portraits, children’s photographs, and they know how to capture with subtlety every expression of everyday life." From today’s perspective, it may sound outrageously “anti-feminist” and patronizing. But what if she was right?
Read more"The Impossibility of Capturing Butoh in Photography," a new book chapter
How to describe the relationship between butoh, a performance based on movement and emotion, and photography, a medium that freezes movement and removes all emotions? To address this question, in this article I compare of Kamaitachi (1968) by Japanese photographer Eikoh Hosoe (b. 1933), and Riga Pantomime (1964-1965) by Latvian photographer Zenta Dzividzinska (1944-2011).
Read more