#colonial-photography

#colonial-photography

Art UK has taken it as its mission to digitally unite one million artworks from 3,500 institutions. This free-to-all portal connects everyone with the UK's public art collections.

The nineteenth-century Italian aristocrat Virginia Oldoini, Countess de Castiglione, has been cast in many lights: narcissist, courtesan, spy, exhibitionist. In the photo studio of Mayer & Pierson, she played all these parts and one more-the role of self-portraitist. For decades, Oldoini helped conceptualize and starred in more than four hundred portraits so experimental and expressive that they have drawn comparisons to works by Claude Cahun and Cindy Sherman.

The significant number of ancestors held in UK museums is extremely distressing and symbolic of the colonial origins of these collections. We hope that the responses gathered by The Guardian will be shared with the relevant communities to support them in bringing their ancestors home.

Anticolonialism, Ontology, and Semiotics draws upon Africana anticolonial philosophy-especially the work of Frantz Fanon and two of his most influential interpreters, Eldridge Cleaver and Sylvia Wynter-to develop a basic analytical model for doing anticolonial political theory. I wanted to show that there is something distinctive, something special, to be found in this tradition of thought that has not been fully appreciated by philosophers and theorists in other fields.

Britain once ruled over the largest empire in history. For many Britons, it remains a source of pride. Others argue its power was built on a legacy of brutality, colonial conquest and the enslavement of millions. Can Britain reckon with that past and make amends?

His humor, his clarity, and his vision shaped many discussions across the agency and within the wider photographic world. This exhibition pays homage to the unique vision of Martin Parr, whose sharp eye for contemporary society and prominent role within Magnum Photos have left an enduring mark on photography.

Here dwells the indigenous Tzotzil community which has kept a pastoral way of life against the march of time. Apart from the odd forest ranger and passerby, Ruvalcaba's film focuses almost entirely on the Tzotzil women. Together, they tend herds of sheep which they still shear by hand, and use traditional tools for spinning yarns and natural dye for fabrics.

A new exhibition at the New York Historical museum looks at the immigrant experience in New York City through a range of revealing and diverse viewpoints, with more than 100 photographs and objects showing how the city has been shaped by people from across the globe.

I remember the moment this photo was taken: five years ago, on my partner Claire's birthday, in a National Trust for Scotland garden six miles east of Edinburgh. We were standing on a wooden deck, an ideal spot for pond-dipping with the kids and a lesser-known viewing platform for trainspotters. This is where my autistic son, then six, loved (and still loves) to jump in tandem with the ScotRail trains toggling back and forth in the middle distance.

I recently gained a new obsession, and I'm ready to share it with the world: finding and analyzing rare vintage images. A picture speaks a thousand words, and these photographs tell us more about history than a textbook chapter ever could. So even if you think history is boring, I'm well-equipped to change your mind, and give you some delicious food for your brain to chew on today.

On Tuesday, French President Emmanuel Macron appeared before the World Economic Forum in Davos, Switzerland the annual Alpine gathering of the global elite to declare that now is not a time for new imperialism or new colonialism. This, of course, was a reference to the current ambitions of Macron's counterpart in the United States, Donald Trump, who, in addition to recently kidnapping the president of Venezuela and repeatedly threatening to seize the Panama Canal,

The brutal crackdown in Iran, ICE in Minneapolis, Russian aistrikes in Kyiv and heavy rain in Gaza the past seven days as captured by the world's leading photojournalists

Candidly, most people visiting the British Museum's Hawaii exhibition probably walk in with a lot of stereotypical preconceptions about the island nation. And will walk out with a totally different understanding of it. Understandably, we probably think of it as not much more than the Pacific island nation that's part of the USA, home to Pearl Harbour and the long-running TV show Hawaii 5.0.

"I rarely use the term collecting and collector," Hsu-Tang says. "We both see ourselves as messengers... I don't own these works of art. I'm here to be a temporary steward of these messages, and to pass on-it's my duty to connect the past, the present and the future."

Walking through Ideas of Africa: Portraiture and Political Imaginationat the Museum of Modern Art, I noticed that the exhibition didn't have definite sections or texts, and the wall labels abstained from naming the nationalities of the photographers. It was an invigorating experience to be in a show that eschews geographic boundaries set up by Western nations, as well as rejects a cause-and-effect narrative that centers Western colonialism as a framework for understanding African aesthetic production.

When I enter a museum, I'm not looking for what's on the walls, I'm looking at what's behind them.

In the autumn of 2022, Max and I walked up the iconic steps of the Metropolitan Museum of Art in New York City to visit Chroma: Ancient Sculpture in Color. As the young son of a professional classicist, and a burgeoning one himself, my museum partner already knew about the ancient history of painted statues when we began to explore the galleries. Max's knowledge seemed the exception rather than the rule.

When Thomas Jefferson wrote about the "inalienable" rights of man in the US Declaration of Independence 250 years ago, it's possible he lifted the term from the French. And long before it was ever used as an adjective to describe human rights, it defined royal property. To this day, "inalienability" remains a cornerstone of public collections in France-and many other countries-impacting museums and their ability to deaccession, including for purposes of restitution.