Wiebke Leister
Biographic Data
| ID | 6730472 |
|---|---|
| NAME | Wiebke Leister |
| GIVEN NAMES | Wiebke |
| FAMILY NAME | Leister |
| SIGNATURE | LEISTER W |
| AFFILIATIONS | London College of Communication, UK |
| ORCID | 0000-0003-0050-6485 |
| VERIFIED | Yes |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2010 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 1 |
The Theatre of Photography
Taking as a starting point the opposition of our title: this text, in the form of a duologue, is also a meeting between photography and theatre, a vantage point from which certain conceptual frameworks can be challenged and even collapsed. In the domain of theatre, one hears often of artifice, authenticity, likeness and liveness. Theatre, from the conceptualisation of naturalism in the nineteenth century to the challenges posed by performance art…
The Theatre of Photography
Taking as a starting point the opposition of this journal’s title, this introduction takes the form of a dialogue that is also an encounter between photography and theatre, a vantage point from which conceptual frameworks can be challenged and even collapsed. In the domains of photography and of theatre, much is made of artifice, authenticity, likeness, and liveness. Photography criticism has often emphasized the possibility or impossibility of v…
Pro-photographic Gestures
Joel Anderson and Wiebke Leister: 'Pro-Photographic Gestures' This essay suggests that both Roland Barthes and Vilém Flusser were interested in accounts of the ‘pro-photographic’ – those acts that are occurring in the slice of the world that is placed in front of the camera eye before it becomes ‘image’. Its mise-en-scène. The essay describes the photographer ‘at work’. It looks at forms of posing in and as acts of photographing that constantly c…
Echoes and Afterlives
The project Echoes and Afterlives looks at the boundaries between embalming and enmasking: being in a skin and under a skin, in and under a mask, looking at a mask and seeing through a mask as something that equally changes one’s gait and one’s voice while playing with sensations of displacement and transformation. Wiebke Leister: Portfolio ‘Echoes and Afterlives’, Journal of Photography and Culture, last draft 03/17
Photography In-the-Round
This peer-reviewed paper looks at the different photographic appearances of Gerhard Richter ́s work ‘48 Portraits’ – a group of 48 individual paintings of famed men, based on photographic portraits sourced from encyclopaedias. First devised for the German Pavilion of the 1972 Venice Biennale, his ‘48 Portraits’ have since seen a range of site-specific arrangements. After a first photographic set in 1972, Richter finally authorized a photographic …
Ever After
Mona Lisa on a Bad Day
This article stems from my ongoing, rather speculative research into a category of photographic portraying that works beyond the limits of recording the individual, unmistakable likeness of a specific sitter in front of the camera. Transcending the constraints of lifelike reproduction, this critique of portraiture investigates the proposition that photographs can be considered as potentially non-mimetic portraits to explore “non-like,” iconic rel…
The Theatre of Photography
Taking as a starting point the opposition of this journal’s title, this introduction takes the form of a dialogue that is also an encounter between photography and theatre, a vantage point from which conceptual frameworks can be challenged and even collapsed. In the domains of photography and of theatre, much is made of artifice, authenticity, likeness, and liveness. Photography criticism has often emphasized the possibility or impossibility of v…
Mona Lisa on a Bad Day
This article stems from my ongoing, rather speculative research into a category of photographic portraying that works beyond the limits of recording the individual, unmistakable likeness of a specific sitter in front of the camera. Transcending the constraints of lifelike reproduction, this critique of portraiture investigates the proposition that photographs can be considered as potentially non-mimetic portraits to explore “non-like,” iconic rel…
Mona Lisa on a Bad Day
This article stems from my ongoing, rather speculative research into a category of photographic portraying that works beyond the limits of recording the individual, unmistakable likeness of a specific sitter in front of the camera. Transcending the constraints of lifelike reproduction, this critique of portraiture investigates the proposition that photographs can be considered as potentially non-mimetic portraits to explore “non-like,” iconic rel…
Ever After
Photography In-the-Round
This peer-reviewed paper looks at the different photographic appearances of Gerhard Richter ́s work ‘48 Portraits’ – a group of 48 individual paintings of famed men, based on photographic portraits sourced from encyclopaedias. First devised for the German Pavilion of the 1972 Venice Biennale, his ‘48 Portraits’ have since seen a range of site-specific arrangements. After a first photographic set in 1972, Richter finally authorized a photographic …
Echoes and Afterlives
The project Echoes and Afterlives looks at the boundaries between embalming and enmasking: being in a skin and under a skin, in and under a mask, looking at a mask and seeing through a mask as something that equally changes one’s gait and one’s voice while playing with sensations of displacement and transformation. Wiebke Leister: Portfolio ‘Echoes and Afterlives’, Journal of Photography and Culture, last draft 03/17
The Theatre of Photography
Taking as a starting point the opposition of this journal’s title, this introduction takes the form of a dialogue that is also an encounter between photography and theatre, a vantage point from which conceptual frameworks can be challenged and even collapsed. In the domains of photography and of theatre, much is made of artifice, authenticity, likeness, and liveness. Photography criticism has often emphasized the possibility or impossibility of v…
Pro-photographic Gestures
Joel Anderson and Wiebke Leister: 'Pro-Photographic Gestures' This essay suggests that both Roland Barthes and Vilém Flusser were interested in accounts of the ‘pro-photographic’ – those acts that are occurring in the slice of the world that is placed in front of the camera eye before it becomes ‘image’. Its mise-en-scène. The essay describes the photographer ‘at work’. It looks at forms of posing in and as acts of photographing that constantly c…
The Theatre of Photography
Taking as a starting point the opposition of our title: this text, in the form of a duologue, is also a meeting between photography and theatre, a vantage point from which certain conceptual frameworks can be challenged and even collapsed. In the domain of theatre, one hears often of artifice, authenticity, likeness and liveness. Theatre, from the conceptualisation of naturalism in the nineteenth century to the challenges posed by performance art…
Art (6 works) · Visual arts (6 works) · Photography (5 works) · Aesthetics (4 works) · Cinema and Media Studies (4 works) · Computer Science (4 works) · Philosophy (4 works) · Philosophy (4 works) · Photography and Visual Culture (4 works) · Sociology (4 works)