ORCID Profile
0000-0002-3813-2338
Current Organisation
Australian National University
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Publisher: Intellect
Date: 10-2019
DOI: 10.1386/POP_00014_1
Abstract: The age of ubiquitous photography has not only embedded the ability to easily share photographs, it has also constructed widespread expectations of content being shared. Such presumptions of sharing are profoundly influencing our relationship with photography, particularly as the hypervisibility of shared images produces an increasingly unstable invisibility of ‘unshared’ images. These contemporary concerns can be productively explored and theorized by considering the work of artists Eva and Franco Mattes. In recent works that use personal photographs, the Matteses reveal prescient insights into photographic concerns around latency, (in)visibility and shifting distinctions between personal rivate ublic. By investigating the Matteses’ works through these prisms, I argue that the age of social media entails internalized and naturalized presumptions of sharing. This has not only affected how and why photographs are taken, it transforms the status of contemporary photography more generally, creating conditions where once unshared rivate personal photographs may now instead exist in a broader state of ‘social latency’.
Publisher: Index Journal
Date: 2018
Publisher: Informa UK Limited
Date: 02-01-2017
Publisher: Deakin University
Date: 17-05-2016
DOI: 10.21153/PS2016VOL2NO1ART536
Abstract: Across the news and entertainment media there is an increasingly prevalent phenomenon: actors, performers and artists who play “versions of themselves”. This paper explores the entertaining and critical potentials of this strategy, which I term “parafictional personas”. I draw upon Carrie Lambert-Beatty’s theorisation of the parafictional as a critical mode that has developed out of (and in tension with) the “historiographic turn”. Parafictional personas are a specific iteration, characterised by two key components: they compulsively imbue every opportunity with layers of interconnections and self-reflexive moments and they involve artists and performers appropriating their own “proper name”, constructing fictionalised doubles of themselves. While found widely across media, my central focus is contemporary visual art, analysing two key ex les, Israeli–American artist Omer Fast and Lebanese artist Walid Raad.These artists are significant because their personas are not simply means of performing themselves as in iduals they are integrated into the ways the artists approach contentious, still unfolding events of contemporary history. Parafictional personas have the potential to thoroughly embed fictional constructs within reality, because of the difficulties in separating elements represented by the same proper name. Their critical potential lies in the ways that they make visible the difficulties of maintaining clear distinctions between historical and fictional, social and in idual narratives. Parafictional personas confound cultural desires to order, categorise and “make sense” of historical narratives. They reveal how much we as viewers (and societies) search for ideas of truth and resolution, even if such truths are presented as incomplete, questionable, or irresolvable.
Publisher: Informa UK Limited
Date: 02-07-2016
Publisher: Informa UK Limited
Date: 03-07-2018
Publisher: Intellect
Date: 10-2019
DOI: 10.1386/POP_00015_1
Abstract: The relationship between the photographic and optical images and time has been the subject of great deal of debate. Despite their differences, what many of these considerations have in common is their focus on the receiver , whether mechanical (the camera), biological (the eye–brain as the optical receiver), social or the memory and imagination of the observer. My aim here is to shift the emphasis from the receiver to the object or vista that is photographed or viewed and to explore how the constraints implied by our modern understanding of the Universe, concerning space and time, impact on the way we perceive photographic and optical images. Viewed from this perspective, photographs can be treated as light projections of sections of the four-dimensional observable world onto two-dimensional spatial photographic or viewing surfaces. I shall show that despite the severe reduction that such projections imply, these modern considerations have the important consequence of bestowing a complex temporality upon optical images, including photographs. This realization dramatically changes the way we view photographs. I give ex les of this rich temporality through considerations of terrestrial images – and more significantly images of the Sky , where these temporal effects are far more pronounced.
No related grants have been discovered for Kate Warren.