In this roundtable, students will inquire into the relationship between AI-generated photography and the subjective agency of authorship, creativity, intention, and believability involved in the making and consumption of the technology-based image, which photography has always been.
The Futures of Photography: Developing Room, in collaboration with the Essen Center of Photography, holds its ninth graduate student colloquium, an event for Ph.D. candidates from any field of study who are working on dissertation topics in which photography--its histories and theories--play a central role.
The Developing Room, a photography working group at Rutgers University’s Center for Cultural Analysis, announces its eighth graduate colloquium in collaboration with the positions: asia critique journal and New York University.
A workshop that explores how photographs have also been used to unbind nationals, to undo citizenship, make non-citizens or even construct no-man's lands. It will tackle four very different historical moments and geographies.
The Developing Room holds its seventh graduate student colloquium. The event is for Ph.D. students from any field of study who are working on dissertation topics in which photography—its histories and theories—plays a central role. This year we particularly encourage contributions on the subject of photography and resistance writ large.
Paoletti’s talk focuses on the earliest photographic records produced between the 1810s and the 1860s in the city of Saint Louis by the African -American Augustus Washington and commissioned by an emancipated class of Senegalese women.
The Developing Room holds its sixth graduate student colloquium, an event for Ph.D. candidates from any field of study who are working on dissertation topics in which photography--its histories and theories--play a central role.
This roundtable, called in celebration of the launch of the new book, Making Modernity in the Islamic Mediterranean (Indiana University Press, 2022), focuses on the transformational role of photography in four careful case studies from the nineteenth century Ottoman Empire.
The Developing Room holds its fifth semi-annual graduate student colloquium, an event for Ph.D. candidates from any field of study who are working on dissertation topics in which photography--its histories and theories--play a central role.
Fred Ritchin, Dean Emeritus of the International Center of Photography (ICP) School, will be our guest at the CCA seminar “What is Photography?” which runs through the academic year 2020-2021.
Organized by CCA postdoctoral fellows Michelle Smiley and Alexander Bigman, this virtual conference invites an interdisciplinary group of scholars, artists, and activists to inquire into the opposed histories and potential imbrications of photography’s evidentiary and disclosive modes, drawing out the politics of visibility and concealment that these concepts address.
The Developing Room holds its fourth annual graduate student colloquium, an event for Ph.D. candidates from any field of study who are working on dissertation topics in which photography--its histories and theories--play a central role.
Laura Wexler is Professor of American Studies, Professor of Women’s, Gender, and Sexuality Studies, and Co-Chair of the Women’s Faculty Forum at Yale University.
One of the distinctive characteristics of photography is that most analogue photographs are positive prints that have been made from a negative. Nevertheless, the negative is almost always regarded as a secondary entity in discussions of photography, if it is discussed at all. Looking at work by a range of practitioners, including William Henry Fox Talbot, Man Ray, Dorothea Lange, Richard Avedon and Andreas Gursky, this talk will offer a little history of the negative, tracing some of the ways that history complicates our understanding of the photograph.
Professor Nicole Fleetwood of Rutgers University will be our guest at the CCA seminar “What is Photography?” which runs through the academic year 2020-2021.
The symposium will consider one of the most prevalent but unseen uses of the medium: the recording and documentation of civilian life around the world.
This workshop aims to take stock of conceptions of photography that have existed outside the dominant paradigms of the West. A range of historians, curators and a photographer will inquire into photography’s identity in major cultural centers such as India, Turkey, South Africa, and the Middle-East, and within constituencies of the West who forged uses and understandings of photography that have only recently begun to receive critical attention, such as immigrant family photos in Canada.
The Developing Room holds its third annual graduate student colloquium, an event for Ph.D. candidates from any field of study who are working on dissertation topics in which photography--its histories and theories--play a central role.
Professor Kaja Silverman, Keith L. and Katherine Sachs Professor of Contemporary Art at the University of Pennsylvania, will be our guest at the CCA seminar “What is Photography?” which runs through the academic year 2020-2021.
Professor Steffen Siegel of the Folkwang Universität der Künste will be our guest at the CCA seminar “What is Photography?” which runs through the academic year 2020-2021.
The Developing Room holds its second annual graduate student colloquium, an event for Ph.D. candidates from any field of study who are working on dissertation topics in which photography--its histories and theories--play a central role.
This workshop aims to take stock of profound changes in the collecting, archiving and—most importantly—exhibition of photography. Prominent initiatives such as the Museum of Modern Art’s Object/Photo have explored ways in which photographs can be foregrounded as unique materials in display, rather than mere surfaces for images.
One of the distinctive characteristics of photography is that most analogue photographs are positive prints that have been made from a negative. Nevertheless, the negative is almost always regarded as a secondary entity in discussions of photography, if it is discussed at all. Looking at work by a range of practitioners, including William Henry Fox Talbot, Man Ray, Dorothea Lange, Richard Avedon and Andreas Gursky, this talk will offer a little history of the negative, tracing some of the ways that history complicates our understanding of the photograph.
The Developing Room holds its first annual graduate student colloquium, an event for Ph.D. candidates from any field of study who are working on dissertation topics in which photography--its histories and theories--play a central role.
After having powered the postmodern critique of photography and a profound rethinking of the historical avant-gardes, is photomontage exhausted? Has its use as a point of critical inquiry, an object of research, and a contemporary practice run its course? Or have new ways to discuss and engage in the practice emerged?
Organized by Sarah Miller and Drew Sawyer, in collaboration with the Zimmerli Museum and the Developing Room, this interdisciplinary symposium seeks to question standard narratives around the reemergence of documentary photography during that tumultuous decade. It brings together a range of international art historians and curators, who have rarely had to opportunity to exchange research and ideas on this topic.
The Developing Room is co-sponsoring a workshop and two keynote talks addressing histories of the illustrated periodical, to be held at the New York Public Library.
At our workshop, we have asked participants to address a fundamental question: how do we isolate and define the illustrated periodical as an object of research? In approaching this question, presentations and two keynote talks will explore the magazine as a physical object and, in turn, a complex cultural artifact firmly embedded in any one location and time.
When can an artist or art historian use a photo she snapped in a museum for teaching? Can a museum reproduce an image from an exhibition of contemporary art in a related brochure without licensing it? How can fair use simplify the permissions process in publications? The College Art Association’s Code of Best Practices in Fair Use for Visual Arts has answers to these and related questions.
The symposium Photography and Evidence will ask what the notion of evidence does to the practice and form of photography, particularly at a time when skepticism and digital technologies have eroded faith in the medium’s veracity.
This event explores strategies of political narration in contemporary photography and film. Discussion will focus on the practices of Dmitry Vilensky and his collective Chto Delat?/What Is To Be Done?.
