Marie Meyerding
Biographic Data
| ID | 5456268 |
|---|---|
| NAME | Marie Meyerding |
| GIVEN NAMES | Marie |
| FAMILY NAME | Meyerding |
| SIGNATURE | MEYERDING M |
| AFFILIATIONS | Freie Universität Berlin |
| ORCID | 0000-0001-7182-2376 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 6 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2021 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 0 |
Photography between Publicity and Politics
Georgina Karvellas was one of the few women photographers documenting apartheid South Africa for several decades. She produced work for the fashion and music sector next to striking documentary work with a clear stance against the government's segregationist policy. Inscribing Karvellas into the histories of photography, film and art, this article highlights the intersections of her work between commercial and political photography as well as bet…
Interlude 1
This interlude follows the AAH conference, when all of the authors who contribute to the special journal edition are present. Their wide-ranging conversation covers the idea and possibilities of a polyphonic history of art. This interlude is a starting point, a jumping off point from where a group of authors, researchers and artists reflect on new ways of thinking about, and new ways of presenting, art history. Their conversation develops an ambi…
“Africa's First Woman Press Photographer”
For years, researchers have been searching for photographs made by Mabel Cetu, who “was said to be the first Black South African woman photojournalist” (Siopis 2006: 10). Cetu was a Black woman who worked as a nurse for more than twenty-five years before she was trained as a photographer in 1956, eight years after the National Party took over South Africa's government and introduced apartheid—a system of institutionalized racial discrimination ag…
Affective photographs
In 2014, the South African photographer Alice Mann made the series Domestic Bliss which portrays domestic workers in her home country. Only a few years later Mann took these photographs down from her website due to strong criticism leveled at her work. In order to explain the portraits’ canceling, this paper undertakes a close visual reading of the series looking at the ideas of agency and affect. It considers the circumstances that determined th…
Performing Gender in Video Art
This article examines Candice Breitz's recorded performances and negotiations of the representation of women and gender dynamics in her video art, looking in particular at her work Extra (2011). Showing that Breitz has addressed the representation of women throughout her oeuvre, this article argues that the works Factum and Extra mark a turning point in Breitz's practice due to their collaborative nature. In Extra, Breitz intervenes in scenes of …
Aestheticising Atrocity
This paper analyses the aestheticisation of environmental disaster in George Osodi’s series of photographs Oil Rich Niger Delta (2003–2007). Depicting the horrific effects of oil drilling in his home country, Osodi chose to make art from real life suffering caused by environmental disaster. Visual analyses of individual photographs reveal carefully chosen compositions and colour selections. Next to building on traditions of art history, Osodi dra…
No prominent works on this page.
Affective photographs
In 2014, the South African photographer Alice Mann made the series Domestic Bliss which portrays domestic workers in her home country. Only a few years later Mann took these photographs down from her website due to strong criticism leveled at her work. In order to explain the portraits’ canceling, this paper undertakes a close visual reading of the series looking at the ideas of agency and affect. It considers the circumstances that determined th…
Performing Gender in Video Art
This article examines Candice Breitz's recorded performances and negotiations of the representation of women and gender dynamics in her video art, looking in particular at her work Extra (2011). Showing that Breitz has addressed the representation of women throughout her oeuvre, this article argues that the works Factum and Extra mark a turning point in Breitz's practice due to their collaborative nature. In Extra, Breitz intervenes in scenes of …
Aestheticising Atrocity
This paper analyses the aestheticisation of environmental disaster in George Osodi’s series of photographs Oil Rich Niger Delta (2003–2007). Depicting the horrific effects of oil drilling in his home country, Osodi chose to make art from real life suffering caused by environmental disaster. Visual analyses of individual photographs reveal carefully chosen compositions and colour selections. Next to building on traditions of art history, Osodi dra…
“Africa's First Woman Press Photographer”
For years, researchers have been searching for photographs made by Mabel Cetu, who “was said to be the first Black South African woman photojournalist” (Siopis 2006: 10). Cetu was a Black woman who worked as a nurse for more than twenty-five years before she was trained as a photographer in 1956, eight years after the National Party took over South Africa's government and introduced apartheid—a system of institutionalized racial discrimination ag…
Photography between Publicity and Politics
Georgina Karvellas was one of the few women photographers documenting apartheid South Africa for several decades. She produced work for the fashion and music sector next to striking documentary work with a clear stance against the government's segregationist policy. Inscribing Karvellas into the histories of photography, film and art, this article highlights the intersections of her work between commercial and political photography as well as bet…
Interlude 1
This interlude follows the AAH conference, when all of the authors who contribute to the special journal edition are present. Their wide-ranging conversation covers the idea and possibilities of a polyphonic history of art. This interlude is a starting point, a jumping off point from where a group of authors, researchers and artists reflect on new ways of thinking about, and new ways of presenting, art history. Their conversation develops an ambi…
Art (6 works) · Law (5 works) · Political science (5 works) · Sociology (5 works) · Visual arts (5 works) · Law (4 works) · Aesthetics (3 works) · African history and culture studies (3 works) · Gender Studies (3 works) · History (3 works)