Michelle Henning
Biographic Data
| ID | 4005767 |
|---|---|
| NAME | Michelle Henning |
| GIVEN NAMES | Michelle |
| FAMILY NAME | Henning |
| SIGNATURE | HENNING M |
| AFFILIATIONS | Twitter (United States) |
| ORCID | 0000-0003-3798-7227 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 14 |
| AUTHOR COUNT | 13 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2007 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Photography’s Other Sensitivities
This article sets out to challenge the idea of photography as a medium that deals purely in the visible. Taking the example of the mid-twentieth-century British photography industry, this article considers photographic sensitivity as part of a sensory economy in which human, technological and environmental sensing are mutually entangled. I emphasise these interlinked sensing systems, and what I see as the “passive agency” of photographic material…
Take Me to the River: Place and Material in Visual Culture
Kind of Blue: Social Media Photography and Emotion
In this article, Michelle Henning considers the use of emotion recognition and sentiment analysis on social media photographs as part of a regime of surveillance and control. Automated emotion recognition studies reduce social media photographs to data, reading them as symptoms of mental states. This goes against the historical idea of the photograph as objective and detached, but corresponds with a contemporary therapeutic sense of self. Henning…
Reproductions, a Special Issue of History of Photography
This special issue is a result of the conference Photographic Art Reproductions, from 1839 to the Present, held online on 23 July 2021 by the University of St Andrews (UK) and the Centre André Chas
Light sensitive material: An introduction
Why do heliotropes move together with the sun, selenotropes with the moon, moving around to the extent of their ability with the luminaries of the cosmos? All things pray according to their own ord
The Worlding of Light and Air: Dufaycolor and Selochrome in the 1930s
During the 1930s, new photographic technologies and practices addressed the difficulties of dealing with different kinds of climate, in Britain and her colonies. This article draws on archival material associated with two brands of photographic film manufactured in England by Ilford Limited: Selochrome and Dufaycolor. It describes these films as involved in a process of ‘worlding’, and as part of a ‘photography complex’ which produces the tropics…
Colorsnap! Colour Photography, the Market in Patents and the 1929 Crash
Although very short-lived, the Colorsnap process, promoted in 1928–29 by the small British company Colour Snapshots (1928) Ltd, is mentioned in several histories of colour photography processes as a key example of a false start in colour photography. Such accounts emphasise problems with technical quality and poor industrial organisation, but miss the key role of the market in patents and changes in investment practices in the period. From 1926 t…
Image Flow: Photography on tap
This essay is about the phenomenon of mass, mobile photographic images in a digital, networked context. In response to recent writings that challenge the relevance of the close reading of singular images, it proposes rethinking the opposition between singular images and images en masse through philosophical ideas of multiplicity and, in particular, via the concept of image flow. It examines four connected contexts in which concepts of flow have b…
The Floating Face: Garbo, Photography and Death Masks
A number of writers have noted the influence of Ernst Benkard’s 1927 book of death masks, Das Ewige Antlitz, on Modernist artists and writers of the inter-war period. This article links it specifically to the emergence in the late 1920s of a very particular way of photographing people, termed here “the floating face”, which is epitomised in publicity portraits of Greta Garbo. It is suggested that this photographic convention is linked to changing…
Museum Transformations
Neurath, Otto (1882–1945)
The distinctive contribution of Otto Neurath to sociology, philosophy, and a wide range of other fields has been largely obscured since World War II, when his own work was rapidly eclipsed by criticisms and revisions. Hayek, in his Road to Serfdom (1944), presented Neurath as a naive advocate of social and economic planning; the Unity of Science movement that Neurath had instigated in 1934 was criticised by Kallen as leaning toward totalitarianis…
Living Life In Pictures: Isotype As Modernist Cultural Practice
The Vienna Method of Picture Statistics, also known as Isotype, has become a means for historians and theorists of modern culture to directly link visual modernism with modern social science and philosophy, specifically with logical positivism and Taylorism/Fordism. Isotype has been described in terms of Taylorist standardization, rationalism, ‘transparent construction’ and functionalism. By delineating the understanding of these terms held by Is…
Anthropomorphic Taxidermy and the Death of Nature: The Curious Art of Hermann Ploucquet, Walter Potter, and Charles Waterton
MR. POTTER'S MUSEUM OF CURIOSITIES was a small Victorian museum that contained unique anthropomorphic tableaux made by the taxidermist Walter Potter (1835–1918). Its glass cases were crammed with small “stuffed” or “mounted” animals, such as birds, squirrels, rats, weasels, and rabbits, wearing miniature clothes and placed in models of the human settings of Potter's time. They play sports, get married, fill schoolrooms and clubs, but they also il…
Anthropomorphic Taxidermy and the Death of Nature: The Curious Art of Hermann Ploucquet, Walter Potter, and Charles Waterton
MR. POTTER'S MUSEUM OF CURIOSITIES was a small Victorian museum that contained unique anthropomorphic tableaux made by the taxidermist Walter Potter (1835–1918). Its glass cases were crammed with small “stuffed” or “mounted” animals, such as birds, squirrels, rats, weasels, and rabbits, wearing miniature clothes and placed in models of the human settings of Potter's time. They play sports, get married, fill schoolrooms and clubs, but they also il…
Image Flow: Photography on tap
This essay is about the phenomenon of mass, mobile photographic images in a digital, networked context. In response to recent writings that challenge the relevance of the close reading of singular images, it proposes rethinking the opposition between singular images and images en masse through philosophical ideas of multiplicity and, in particular, via the concept of image flow. It examines four connected contexts in which concepts of flow have b…
The Floating Face: Garbo, Photography and Death Masks
A number of writers have noted the influence of Ernst Benkard’s 1927 book of death masks, Das Ewige Antlitz, on Modernist artists and writers of the inter-war period. This article links it specifically to the emergence in the late 1920s of a very particular way of photographing people, termed here “the floating face”, which is epitomised in publicity portraits of Greta Garbo. It is suggested that this photographic convention is linked to changing…
Anthropomorphic Taxidermy and the Death of Nature: The Curious Art of Hermann Ploucquet, Walter Potter, and Charles Waterton
MR. POTTER'S MUSEUM OF CURIOSITIES was a small Victorian museum that contained unique anthropomorphic tableaux made by the taxidermist Walter Potter (1835–1918). Its glass cases were crammed with small “stuffed” or “mounted” animals, such as birds, squirrels, rats, weasels, and rabbits, wearing miniature clothes and placed in models of the human settings of Potter's time. They play sports, get married, fill schoolrooms and clubs, but they also il…
Living Life In Pictures: Isotype As Modernist Cultural Practice
The Vienna Method of Picture Statistics, also known as Isotype, has become a means for historians and theorists of modern culture to directly link visual modernism with modern social science and philosophy, specifically with logical positivism and Taylorism/Fordism. Isotype has been described in terms of Taylorist standardization, rationalism, ‘transparent construction’ and functionalism. By delineating the understanding of these terms held by Is…
Museum Transformations
Neurath, Otto (1882–1945)
The distinctive contribution of Otto Neurath to sociology, philosophy, and a wide range of other fields has been largely obscured since World War II, when his own work was rapidly eclipsed by criticisms and revisions. Hayek, in his Road to Serfdom (1944), presented Neurath as a naive advocate of social and economic planning; the Unity of Science movement that Neurath had instigated in 1934 was criticised by Kallen as leaning toward totalitarianis…
The Floating Face: Garbo, Photography and Death Masks
A number of writers have noted the influence of Ernst Benkard’s 1927 book of death masks, Das Ewige Antlitz, on Modernist artists and writers of the inter-war period. This article links it specifically to the emergence in the late 1920s of a very particular way of photographing people, termed here “the floating face”, which is epitomised in publicity portraits of Greta Garbo. It is suggested that this photographic convention is linked to changing…
Image Flow: Photography on tap
This essay is about the phenomenon of mass, mobile photographic images in a digital, networked context. In response to recent writings that challenge the relevance of the close reading of singular images, it proposes rethinking the opposition between singular images and images en masse through philosophical ideas of multiplicity and, in particular, via the concept of image flow. It examines four connected contexts in which concepts of flow have b…
The Worlding of Light and Air: Dufaycolor and Selochrome in the 1930s
During the 1930s, new photographic technologies and practices addressed the difficulties of dealing with different kinds of climate, in Britain and her colonies. This article draws on archival material associated with two brands of photographic film manufactured in England by Ilford Limited: Selochrome and Dufaycolor. It describes these films as involved in a process of ‘worlding’, and as part of a ‘photography complex’ which produces the tropics…
Colorsnap! Colour Photography, the Market in Patents and the 1929 Crash
Although very short-lived, the Colorsnap process, promoted in 1928–29 by the small British company Colour Snapshots (1928) Ltd, is mentioned in several histories of colour photography processes as a key example of a false start in colour photography. Such accounts emphasise problems with technical quality and poor industrial organisation, but miss the key role of the market in patents and changes in investment practices in the period. From 1926 t…
Light sensitive material: An introduction
Why do heliotropes move together with the sun, selenotropes with the moon, moving around to the extent of their ability with the luminaries of the cosmos? All things pray according to their own ord
Kind of Blue: Social Media Photography and Emotion
In this article, Michelle Henning considers the use of emotion recognition and sentiment analysis on social media photographs as part of a regime of surveillance and control. Automated emotion recognition studies reduce social media photographs to data, reading them as symptoms of mental states. This goes against the historical idea of the photograph as objective and detached, but corresponds with a contemporary therapeutic sense of self. Henning…
Reproductions, a Special Issue of History of Photography
This special issue is a result of the conference Photographic Art Reproductions, from 1839 to the Present, held online on 23 July 2021 by the University of St Andrews (UK) and the Centre André Chas
Photography’s Other Sensitivities
This article sets out to challenge the idea of photography as a medium that deals purely in the visible. Taking the example of the mid-twentieth-century British photography industry, this article considers photographic sensitivity as part of a sensory economy in which human, technological and environmental sensing are mutually entangled. I emphasise these interlinked sensing systems, and what I see as the “passive agency” of photographic material…
Take Me to the River: Place and Material in Visual Culture
Art (11 works) · Visual arts (8 works) · Art history (6 works) · History (6 works) · Photography (6 works) · Photography and Visual Culture (5 works) · Aesthetics (4 works) · Law (4 works) · Political science (4 works) · Geographies of human-animal interactions (3 works)