Over the past decade, historical studies of photography have embraced a variety of cultural and disciplinary approaches to the medium, while shedding light on non-Western, vernacular, and "other" photographic practices outside the Euro-American canon. Photography, History, Difference brings together an international group of scholars to reflect on contemporary efforts to take a different approach to photography and its histories. What are the benefits and challenges of writing a consolidated, global history of photography? How do they compare with those of producing more circumscribed regional or thematic histories? In what ways does the recent emphasis on geographic and national specificity encourage or exclude attention to other forms of difference, such as race, class, gender, and sexuality? Do studies of "other" photographies ultimately necessitate the adoption of nontraditional methodologies, or are there contexts in which such differentiation can be intellectually unproductive and politically suspect? The contributors to the volume explore these and other questions through historical case studies; interpretive surveys of recent historiography, criticism, and museum practices; and creative proposals to rethink the connections between photography, history, and difference. A thought-provoking collection of essays that represents new ways of thinking about photography and its histories. It will appeal to a broad readership among those interested in art history, visual culture, media studies, and social history.

She Who Tells a Story introduces the pioneering work of twelve leading women photographers from Iran and the Arab world: Jananne Al-Ani, Boushra Almutawakel, Gohar Dashti, Rana El Nemr, Lalla Essaydi, Shadi Ghadirian, Tanya Habjouqa, Rula Halawani, Nermine Hammam, Rania Matar, Shirin Neshat and Newsha Tavakolian. As the Middle East has undergone unparalleled change over the past twenty years, and national and personal identities have been dismantled and rebuilt, these artists have tackled the very notion of representation with passion and power. Their provocative images, which range in style from photojournalism to staged and manipulated visions, explore themes of gender stereotypes, war and peace and personal life, all the while confronting nostalgic Western notions about women of the Orient and exploring the complex political and social landscapes of their home regions. Enhanced with biographical and interpretive essays, and including more than 100 reproductions of photographs and film and video stills, this book challenges us to set aside preconceptions about this part of the world and share in the vision of a group of vibrant artists as they claim the right to tell their own stories in images of great sophistication, expressiveness and beauty.

Writing Through the Visual and Virtual: Inscribing Language, Literature, and Culture in Francophone Africa and the Caribbean interrogates conventional notions of writing. The contributors--whose disciplines include anthropology, art history, education, film, history, linguistics, literature, performance studies, philosophy, sociology, translation, and visual arts--examine the complex interplay between language/literature/arts and the visual and virtual domains of expressive culture. The twenty-five essays explore various patterns of writing practices arising from contemporary and historical forces that have impacted the literatures and cultures of Benin, Cameroon, C te d'Ivoire, Egypt, Guadeloupe, Haiti, Martinique, Morocco, Niger, Reunion Island, and Senegal. Special attention is paid to how scripts, though appearing to be merely decorative in function, are often used by artists and performers in the production of material and non-material culture to tell "stories" of great significance, co-mingling words and images in a way that leads to a creative synthesis that links the local and the global, the "classical" and the "popular" in new ways.

What does Moroccan culture mean to a group of Moroccan academics at this decisive conjuncture and turning point of the 21st Century characterised by the advent and the shaking impact of the Arab Spring? How does culture, broken down in terms of intergenerational values, cultural identity related to language, language behaviour, socio-political debate, the meaning of space and place, and the meaning of ancient festivals fare in today's Moroccan socio-cultural and socio-political contexts? Marrying theory and fieldwork, the authors in the six chapters that constitute the present book volume have tackled the above themes insightfully and discussed them by using in-depth analysis and investigation. They have given a firsthand, autochthonous account of aspects of Moroccan culture in the wake of the recent and still reverberating events that have swept across much of North Africa and part of the Middle East.

This book deals with the genre of geometric design in the Islamic sphere. Part I presents an overview of Islamic history, its extraordinary spread from the Atlantic to the borders of China in its first century, its adoption of the cultural outlook of the older civilisations that it conquered (in the Middle East, Persia and Central Asia), including their philosophical and scientific achievements - from which it came to express its own unique and highly distinctive artistic and architectural forms. Part II represents the mathematical analysis of Islamic geometric designs.  The presentation offers unlimited precision that allows software to reconstruct the design vision of the original artist. This book will be of interest to Islamic academics, mathematicians as well as to artists & art students.

The lives and works of over 75 artists of African American heritage are presented here, covering media of painting, sculpture, textiles, installation art, photography, and others.