Titlebook: Contemporary Photography as Collaboration; Mathilde Bertrand,Karine Chambefort-Kay Book 2024 The Editor(s) (if applicable) and The Author(

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Commercially Unavailable: Distribution as an Activist Tacticand . (2022). The latter was made in Ukraine, to plead for international prevention before, and as, a major conflict escalated into an invasion and war where fossil fuel and nationalism play a central role (Fig. 6.1).

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The Dominance of Monographic Exhibitions in French Photographic Institutions: Data, Criticisms and I? This chapter shows that it is not exactly the case: if their form is still certainly questionable, monographic exhibitions are nonetheless politicized, but according to different logics. The Jeu de Paume, for example, uses them to challenge the male canon in photographic history and to protect and

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/“Qu’on est loin des Amériques”: A Collaboration Between Photographers and Geographersext. It then aims to situate the experiences and careers of the photographers who are members of the Tulipe Mobile collective, and the importance given to the ‘restitution of images’ and the dialogue with the subjects of their images. The chapter then examines one of the products resulting from the

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Polynome und Polynomgleichungen,the assumption of a recent transformation of photography. By drawing on the notion that photography is not only a visual art but also a social practice, the authors of this book collectively debunk the standard story of photography as the work of a single operator, author or hero. Not only do they r

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https://doi.org/10.1007/3-540-29823-1ups and with adults), this chapter proposes instead to apply sociologist Erving Goffman’s theories of positive self-expression to the photographic output. These theories provide a better understanding of the difference between insider and outsider photography. Finally, de-emphasising aesthetic consi

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