Alison V Dean
Biographic Data
| ID | 6814007 |
|---|---|
| NAME | Alison V Dean |
| GIVEN NAMES | Alison V |
| FAMILY NAME | Dean |
| SIGNATURE | DEAN A V |
| AFFILIATIONS | Simon Fraser University |
| VERIFIED | No |
| TOTAL WORKS | 2 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 2 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 0 |
Just like us”
This article considers how the relatively new genre of migrant photography, “the migrant selfie,” fits into the larger visual history of migrancy. From early UNHCR photography to contemporary representations of migration in the news and visual art, this paper traces the visual image of the migrant over time. It then draws on this history to contextualize selfies featured in Tomas van Houtryve’s (2016–2017) video installation, Traces of Exile
Intimacy at Work
Contemporary photographers Rineke Dijkstra and Nan Goldin each seek intimacy through portrait making. Perhaps not surprisingly, their work is most frequently framed in terms of either empathy or voyeurism. Considering selections from Goldin’s The Ballad of Sexual Dependency and Dijkstra’s New Mothers photographs, this essay argues that instead of approaching the text critically through the lens of ‘voyeurism’, this work is best explored by focusi…
No prominent works on this page.
Intimacy at Work
Contemporary photographers Rineke Dijkstra and Nan Goldin each seek intimacy through portrait making. Perhaps not surprisingly, their work is most frequently framed in terms of either empathy or voyeurism. Considering selections from Goldin’s The Ballad of Sexual Dependency and Dijkstra’s New Mothers photographs, this essay argues that instead of approaching the text critically through the lens of ‘voyeurism’, this work is best explored by focusi…
Just like us”
This article considers how the relatively new genre of migrant photography, “the migrant selfie,” fits into the larger visual history of migrancy. From early UNHCR photography to contemporary representations of migration in the news and visual art, this paper traces the visual image of the migrant over time. It then draws on this history to contextualize selfies featured in Tomas van Houtryve’s (2016–2017) video installation, Traces of Exile
Art (2 works) · Visual arts (2 works) · Art history (1 work) · Computer Science (1 work) · Diaspora, migration, transnational identity (1 work) · Dijkstra's algorithm (1 work) · Engineering (1 work) · Mechanical Engineering (1 work) · Migration and Labor Dynamics (1 work) · Migration, Refugees, and Integration (1 work)