Pictures Bring Us Messages

Pictures Bring Us Messages

Author: Alison Kay Brown

Publisher: University of Toronto Press

Published: 2006-01-01

Total Pages: 309

ISBN-13: 0802090060

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In 1925, Beatrice Blackwood of the University of Oxford's Pitt Rivers Museum took thirty-three photographs of Kainai people on the Blood Indian Reserve in Alberta as part of an anthropological project. In 2001, staff from the museum took copies of these photographs back to the Kainai and worked with community members to try to gain a better understanding of Kainai perspectives on the images. 'Pictures Bring Us Messages' is about that process, about why museum professionals and archivists must work with such communities, and about some of the considerations that need to be addressed when doing so. Exploring the meanings that historic photographs have for source communities, Alison K. Brown, Laura Peers, and members of the Kainai Nation develop and demonstrate culturally appropriate ways of researching, curating, archiving, accessing, and otherwise using museum and archival collections. They describe the process of relationship building that has been crucial to the research and the current and future benefits of this new relationship. While based in Canada, the dynamics of the 'Pictures Bring Us Messages' project is relevant to indigenous peoples and heritage institutions around the world.


Pictures Bring Us Messages

Pictures Bring Us Messages

Author: Alison Kay Brown

Publisher: University of Toronto Press

Published: 2006-01-01

Total Pages: 309

ISBN-13: 0802048919

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While based in Canada, the dynamics of the 'Pictures Bring Us Messages' project is relevant to indigenous peoples and heritage institutions around the world


The Civil Contract of Photography

The Civil Contract of Photography

Author: Ariella Azoulay

Publisher: Princeton University Press

Published: 2021-09-14

Total Pages: 586

ISBN-13: 1935408372

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In this groundbreaking work, Ariella Azoulay thoroughly revises our understanding of the ethical status of photography. It must, she insists, be understood in its inseparability from the many catastrophes of recent history. She argues that photography is a particular set of relations between individuals and the powers that govern them and, at the same time, a form of relations among equals that constrains that power. Anyone, even a stateless person, who addresses others through photographs or occupies the position of a photograph’s addressee, is or can become a member of the citizenry of photography. The crucial arguments of the book concern two groups that have been rendered invisible by their state of exception: the Palestinian noncitizens of Israel and women in Western societies. Azoulay’s leading question is: Under what legal, political, or cultural conditions does it become possible to see and show disaster that befalls those with flawed citizenship in a state of exception? The Civil Contract of Photography is an essential work for anyone seeking to understand the disasters of recent history and the consequences of how they and their victims are represented.