Pictures in Dispute
Documentary photography in Sandinista Nicaragua
Bibliographic Data
| ID | 12919627 |
|---|---|
| Authors | Ileana L Selejan (0000-0001-9571-0029, corresponding author) |
| Year | 2017 |
| Volume | 10 |
| Issue | 3 |
| Pages | 283-302 |
| Publication date | 2017-08-10 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Photographies (JOURNAL) |
| Journal identifiers | ISSN: 1754-0763 • E-ISSN: 1754-0771 |
| Publisher | Taylor & Francis (PUBLISHER • GB) |
| DOI | 10.1080/17540763.2017.1342973 |
| OpenAlex | W2743483294 |
| Language | EN |
| Citations received | 2 |
| References cited | 4 |
The need for political participation felt in the aftermath of the Cuban revolution, and the widespread mobilization of photography to political ends during this period intersected with postmodern theory in a global arena. While US-based critiques of the documentary genre have been duly analyzed in the relevant literature, related conversations taking place in Latin America have only been marginally explored. This article posits that so-called postmodern discourses in fact created the basis for a horizontal, transnational and multi-centered, rather than vertical (North‒South) dynamic between these photographic communities. Through their commitment to politics, and to avant-garde aesthetics, documentary photographers performed gestures of cultural and visual appropriation, fitting their itinerant context. This article analyzes the work of Claudia Gordillo, taking as a case study Nicaragua during the 1980s
Aesthetics · Appropriation · Archaeology · Art · Context (archaeology · Epistemology · Gesture · Linguistics · Literature · Period (music · Political science · Politics · Postmodernism · Sociology · Visual arts · History · Law · Philosophy · Photographic and Visual Arts · Photography and Visual Culture
| Unique citing works | 2 |
|---|---|
| Citations per year | 0,25 |
| Citation span | 2018 - 2020 (3) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 2 |