Locating Photography

The specter of global dissemination haunted photography from its very beginning. This chapter explains two aspects of photography's “globalization”: its use as a “western” technique to document an increasingly colonized world and its dissemination around the world and its adoption by local practitioners. In rural and small‐town central India, the studio retains a central place in most people's encounters with photography. Martín Chambi would retain a lifelong adherence to the purity of the photographic image but other indigenista photographers, such as Juan Manuel Figueroa Aznar, would increasingly use paint alongside photography. A World System Photography, seen in networks that fold locally articulated practices into trajectories that fuse technics, history, and culture, can help people think in new ways about the “location” of photography. Locations have to be re‐imagined as “Terra Infirma”, unstable and complex positions which may have more of the quality of linking sections of a network than of territories

Neo-Assyrian relief in the Weingreen Museum of Biblical Antiquities, Trinity College Dublin; a case study in artefact acquisition.

The focus of this paper is a neo-Assyrian relief discovered in the Weingreen Museum of Biblical Antiquities at Trinity College Dublin (hereafter the Weingreen Museum). The shallow relief depicts a pictorial vignette of a kneeling genie, rendered in profile, facing a tree of life, on a horizon formed by a cuneiform border (WM 1189). Details surrounding the relief\u27s acquisition were completely unknown to Trinity College Dublin staff during 2008-9. This investigation follows a paper trail which illuminates the circumstances behind its procurement and subsequent journey from Iraq to Dublin in the Victorian period. The results establish the relief as the uncontested prize piece of the Weingreen Museum