Circulation, edited journal issue

History of Photography, Special Issue, June 2008

A special issue of the journal History of Photography, edited by seminar members Thy Phu and Matthew Brower, that addressed the changing interpretations of photographs as they circulate.

Table of Contents
Thy Phu and Matthew Brower

"Surreal Encounters: Science, Surrealism and the Re‐Circulation of a Crime‐Scene Photograph"
Linda Steer
This article examines the implications of the surrealist appropriation and re‐circulation of a crime‐scene photograph depicting the body of Mary Kelly, Jack the Ripper's final victim.

"Public/Private Tensions in the Photography of Sally Mann"
Sarah Parsons
This article examines the circulation of Sally Mann's pictures of her children, which were exhibited and published in 1992 under the title Immediate Family.

"Welfare Capitalism and Documentary Photography"
Elspeth H. Brown
This article examines the use of photography in promoting welfare capitalist initiatives at the National Cash Register Company (N.C.R.) of Dayton Ohio in the early twentieth century.

"From Public Relations to Art: Exhibiting Frances Benjamin Johnston's Hampton Institute Photographs"
Sarah Bassnett
This article examines the circulation of a series of photographs taken by Frances Benjamin Johnston at the Hampton Normal and Agricultural Institute in Hampton, Virginia, in 1899.

"George Shiras and the Circulation of Wildlife Photography"
Matthew Brower
This article examines the circulation of George Shiras 3rd's Midnight Series of deer photographs. The photographs were taken in 1896 as part of Shiras's experiments with night‐time flash photography and were part of the North American practice of camera hunting.

"Atomic Afterimages"
Blake Fitzpatrick
This article examines the recirculation of Robert Del Tredici's photographs of the Cold War nuclear weapons complex. 

"Still Suplementation: Stan Douglas's Cuba Photographs"
Kelly Wood
Focusing closely on the incorporation of photographs into Stan Douglas's media installations, this essay argues that the relationship between photography and film in his work is more complex than critics have acknowledged.