Just Like Home: Photo Album on the Edge of the Everyday
DOI:
https://doi.org/10.5281/zenodo.16071972Keywords:
Everyday Aesthetics, Photography, Photo Album, Memory, StereotypeAbstract
In the last few decades, we have observed an increased interest in photography as an object of study of the everyday, as well as of the formation of everyday habits and aesthetics. It is no longer understood strictly as an artistic entity, a document, or a personal commodity, but – under the impression of a material turn – it is experiencing a substantial renaissance as a complex tool for learning about the socio-cultural parameters of a given community or space-time with a specific aesthetics. The photographic history, rather than the history of photography, involves a series of tools and methodological procedures that make the photographic image not only a source of banal information but is understood as a saturated structure. Institutional practice becomes one of the key themes, with the archive establishing itself alongside collections. Or rather, and this is what the text focuses on, the photo album – is a complex tool on the borderline between active and passive perception, personal and shared experience, image, and text. How does this medium work in the context of contemporary art practice? What means does it have at its disposal when the author turns his attention to the problem of “everyday”? And can we truly talk about specific aesthetic attributes?
References
András, E. (2004) Melyik az igazi? Budapest: Vintage Galéria.
Arruti, N. (2007) ‘Tracing the Past: Marcelo Brodsky's Photography as Memory Art’, Paragraph, 30(1), pp. 101–120.
Assmann, A. (2008) ‘Transformations between History and Memory’, Social Research, 75(1), Collective Memory and Collective Identity, pp. 49–72.
Bate, D. (2010) ‘The Memory of Photography’, Photographies, 3(2), pp. 243–257.
Bourdieu, P. (1996) Photography: A Middle-Brow Art. Redwood City: Stanford University Press.
Berecz, A. (2006) Please Recycle! On Ágnes Eperjesi’s Family Album, Conference paper Exposed Memories – Family Pictures in Private and Public Memory, Conference of International Association of Art Critics. Available at: http://wwwold.sztaki.hu/providers/eper/articles/bereczkonferencia.html. (Accessed: February 17, 2023).
Berleant, A. (2002) The Aesthetic Field. Rochester: Lisa Loucks Christenson Publishing.
Dewey, J. (1916) Democracy and Education. An Introduction to the Philosophy of Education, Project Guttenberg. Available at https://www.gutenberg.org/cache/epub/852/pg852-images.html. (Accessed: February 17, 2023).
Dewey, J. (1958) Art as Experience. New York: Capricorn Books.
Eperjesi, A. (2004) The Family Album, published in edition of 28, numbered and signed, 26 x 35.5 cm, 18 pages, 52 original C-print, hand-bound. Available at: http://www.sztaki.hu/providers/eper/works/recycled_pictures/index_family_album.html. (Accessed: February 17, 2023).
Fiore, A. (2022) ‘Dewey’s and Pareyson’s Aesthetics’, European Journal of Pragmatism and American Philosophy, 15.
Freud, S. (1909) ‘Family Romances’, in The Standard Edition of the Complete Psychological Works of Sigmund Freud, Vol. IX (1906-1908), Jensen’s “Gradiva” and Other Works. London: The Hogarth Press, pp. 235–242.
Fromm, K. (2020) ‘Context matters: Image and Text in the Works of Allan Sekula and Martha Rosler’, in image/con/text: Documentary Practices between Journalism, Art and Activism. [Online] Available at: https://photocaptionist.com/context-matters-imagetext-works-allan-sekula-martha-rosler. (Accessed: February 17, 2023).
Fried, M. (2005) ‘Barthes’s Punctum’, Critical Inquiry, 31(3), pp. 539–574.
Ganger, D.A. (2006) ‘Teaching Aesthetics and Aesthetic Teaching: Toward a Deweyan Perspective’, The Journal of Aesthetic Education, 40(2), pp. 45–66.
Gruyter, P. (2015) A History of Modern Aesthetics, Vol. 3. Cambridge: Cambridge University Press.
Hammer, F. (1997) ‘The Spectacle of the Other’, in Hall, S. (ed.) Representations and Signifying Practices. London: Open University Press/ SAGE.
Harrison, B. (2002) ‘Photographic visions and narrative inquiry’, Narrative Inquiry, 12(1), pp. 87–111.
Havránek, V. et al. (2008) Bruselský sen: československá účast na světové výstavě Expo 58 v Bruselu a životní styl 1. poloviny 60 let. Prague: Arbor Vitae.
de Lauretis, T. (1984) ‘Imagining’, in Thomas, J. (ed.) (2001) Reading Images. Basingstoke / New York, Palgrave, pp. 102–109.
Light, A. and Smith, J. M. (eds.) (2005) The Aesthetics of Everyday Life. New York: Columbia University Press.
Mertová, M. and Švácha, R. (2023) Byli jsme světoví! Expo Brusel, Montreal, Ósaka z archivu architekta Miroslava Řepy. Olomouc: Muzea umění Olomouc.
de Mijolla, A. (1987) ‘Unconscious identification, fantasies and family prehistory’, International Journal of Psychoanalysis, 68(1), pp. 397–403.
Nascimento Araújo, M. P. and Sepúlveda dos Santos, M. (2009) ‘History, Memory and Forgetting: Political Implications’, RCCS Annual Review, 1(1). Available at: http://journals.openedition.org/rccsar/157. Accessed: February 17, 2023.
Nietzsche, F. (1886) Beyond Good and Evil, translated by Helen Zimmern. Project Guttenberg. Available at: (https://www.gutenberg.org/files/4363/4363-h/4363-h.htm. (Accessed: February 17, 2023).
Nietzsche, F. (1887) The Joyful Wisdom, translated by Thomas Common. Project Guttenberg. Available at: https://www.gutenberg.org/files/52881/52881-h/52881-h.htm. (Accessed: February 17, 2023).
Pasternak, G. (2020) The Handbook of Photography Studies. London: Routledge.
Pěchouček, M. et. al. (2006) Michal Pěchouček – Playtime. Brno: Galerie Brno.
Purdy, J. S., Guildi, J., Grove, J., Paarlberg, R., Malm, A., Keith, D., Tsing, A., Mattei, U., Shiva, V., Waldau P. and Scranton, R. (2016) ‘The New Nature’, Boston Revue, 10, 41(1).
Rancière, J. (2006) The Politics of Aesthetics: The Distribution of the Sensible. New York: Continuum.
Ripa, C. (2019) Iconologia. Translated by Jiří Špaček. Prague: Argo.
Fromm, K. (2020) ‘Context matters: Image and Text in the Works of Allan Sekula and Martha Rosler’, in image/con/text: Documentary Practices between Journalism, Art and Activism, Berlin: Reimer. Available at: https://image-matters-discourse.de/?lang=en. (Accessed: February 17, 2023).
Saito, Y. (2010) Everyday Aetshetics. Oxford: Oxford University Press.
Saito, Y. (2017) The Aesthetics of the Ordinary and Familiar, Aesthetics of the Familiar: Everyday Life and World-Making. Oxford: Oxford University Press.
Saito, Y. (2020) ‘Everyday aesthetics and world-making’, Contrastes. Revista Internacional de Filosofía, 15(3), pp. 35–54.
Saito, Y. (2023) ‘Aesthetics of the Everyday’, in Zalta, E.N. and Nodelman, U. (eds.) The Stanford Encyclopedia of Philosophy. Available at: https://plato.stanford.edu/archives/fall2023/entries/aesthetics-of-everyday/. (Accessed: February 17, 2023).
Schwartz, J. and James, R. (eds) (2003) Picturing Place Photography and the Geographical Imagination. London: Routledge.
Smith, R. S. (2020) ‘Baudrillard’s Photographic Theory’, International Journal of Baudrillard Studies, 16 (1). Available at: https://baudrillardstudies.ubishops.ca/baudrillards-photographic-theory/. (Accessed: February 17, 2023).
Tatai, E. (2007) Eperjesi Ágnes: Családi album. Apertúra.
Thaler, R. H. and Sunstein, C. R. (2008) Nudge: Improving Decisions About Health, Wealth, and Happiness. New York: Penguin Books.
Tucker, J. (2006) Nature Exposed: Photography as Eyewitness in Victorian Science. Baltimore: Johns Hopkins University Press.
Vaamonde, M. (2023) ‘John Dewey’s Pragmatist Aesthetics’, International Humanities Review, 16.
