History of photography

O artigo explora as relações entre design e imagem em fotolivros, considerando a narrativa visual como uma estrutura não linear de recortes gráficos e fotográficos. Baseando-se em conceitos de Walter Benjamin e Georges Didi-Huberman, discute a complexidade dessa relação. Além disso, utiliza a ideia de "forma e contraforma" de Ellen Lupton para abordar a elaboração da diagramação em fotolivros. Contextualiza o tema através de experiências da Bauhaus e do Construtivismo Russo, assim como da poesia concreta e da arte conceitual. Por fim, destaca o papel do design como uma experiência gráfica relacional na criação e produção de fotolivros, reconhecendo-o como uma configuração visual autoral e subjetiva.

The tomb of Rashepses, situated to the north of Netjerikhet’s Step Pyramid complex in Saqqara, was already known in the early 1800s. James Burton, who travelled in Egypt between 1820 and 1839, visited the tomb around 1827.
The first scientific-like exploration of the tomb was undertaken by Karl Richard Lepsius, who briefly excavated a small part of the tomb and copied some of its scenes and inscriptions. He also made a rough plan of the structure.
In 1907 and 1908 James E. Quibell pursued a small work in the mastaba. In his extremely brief report, he mentions the northern passage of the tomb, with numerous later burials. 
Since 2010 the exploration of the tomb has been continued by the team of the Supreme Council of the Antiquities headed by the principal investigator. Previously unknown parts of the mastaba were cleaned, including above all a room with a false-door. The newly explored parts of the tomb revealed a partly preserved relief decoration with remains of its original colors. In addition to the superstructure, also the burial chamber has been cleaned, which is beautifully decorated with paintings.

Os objetos de interesse cultural quando expostos no espaço público são vistos pelas comunidades como Arte Pública. Não obstante as ambiguidades associadas ao conceito do que é a Arte e do que é o Público, uma dessas obras que se projeta em múltiplas interconexões ideológicas é o Monumento ao Esforço Colonizador Português, da cidade do Porto. O estudo que se apresenta diz respeito ao contexto histórico da obra, sua criação e seu percurso, desde o surgimento de uma primeira versão da chamada Primeira Exposição Colonial Portuguesa, em 1934, nos jardins do Palácio de Cristal Portuense, designado para o evento como Palácio das Colónias. A monumental obra é analisada por um prisma cripto-histórico. Através de fotografias de arquivo e outras fontes, em particular, alguma cartografia especifica da cidade, efetua-se um estudo que ilustra com tecnologias de informação geográfica e de computação gráfica a localização da obra nos jardins do palácio.

Badania historii fotografii na Litwie, prowadzone w ostatnich dziesięcioleciach, znacznie wzbogaciły naszą wiedzę o początkach tego medium. Pojawiły się nowe nazwiska, odnaleziono nieznane dotąd zdjęcia. W artykule podjęto próbę przedstawienia polskim czytelnikom nowo odkrytych faktów, które miały wpływ na rozwój fotografii na Litwie od roku 1839 do końca okresu mokrego kolodionu. SŁOWA-KLUCZE fotografia XIX w., historia fotografii, Litwa ABSTRACT Contributions to the History of Photography in Lithuania until the End of the Wet Collodion Period (1839-ca. 1883) in the Light of Recent Research. Research into the history of photography in Lithuania in recent decades has added new facts and phenomena to our knowledge of the early photography in Lithuania. New names have appeared; hitherto unknown photographs have been found. This article attempts to introduce the Polish public to new facts that influenced the development of photography in Lithuania from 1839 to the end of wet collodion period.

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1 E-IDAES Escuela Interdisciplinaria de Altos Estudios Sociales - Maestría en Historia del
Arte Argentino y Latinoamericano. Universidad Nacional de San Martín/UNSAM, Argentina.
2 E-IDAESEscuelaInterdisciplinariadeAltosEstudiosSociales-MaestríaenHistoriadelArte
Argentino y Latinoamericano. Universidad Nacional de San Martín, Argentina. Universidad
NacionalNoroeste.BuenosAires/UNNOBA.
3 E-IDAESEscuelaInterdisciplinariadeAltosEstudiosSociales-MaestríaenHistoriadelArte
ArgentinoyLatinoamericano.UniversidadNacionaldeSanMartín/UNSAM,Argentina.Museo
de Arte Contemporáneo Universidad/ MAC U. Chile.
4 E-IDAESEscuelaInterdisciplinariadeAltosEstudiosSociales-MaestríaenHistoriadelArte
ArgentinoyLatinoamericano.UniversidadNacionaldeSanMartín/UNSAM,Argentina.E-mail
[email protected]
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El objeto de estudio se centra en torno a los documentos gráficos que ponen de manifiesto, no sólo la evolución histórica y arquitectónica de la Catedral de Canarias, sino además, como dicho monumento, forma parte de la memoria e imaginario de la ciudad de Las Palmas a través del análisis de planos, ilustraciones, grabados y fotografías a lo largo del tiempo.

In the 1950s, Catholic thought was challenged by a “quarrel of Sacred
Art.” Radical dogmatic positions confronted each other around the question of the “regeneration” of religious art and the position of the Church faced with the artistic evolutions of the 20th century,
and especially the appearance of abstract art. A group of Benedictine
monks seized upon the occasion of this uncertainty to propose an
enlightened approach, defined in an art journal, and then in a veritable
editorial adventure, the launching of Zodiaque, whose original function was to provide, as a source of inspiration to contemporary artists the models offered by Romanesque art. This would provide the source that their speculative search could trust. They would find a base in this art, which the director of publications, Dom Angelico Surchamp considered
more authentic. From an artistic and dogmatic engagement, the Editions Zodiaque gradually became a highly successful editor of fine arts publications. Their approach, both systematic and
synthetic of the sites they proposed, offered an extremely original
synoptic vision for a period which up to then had only been known
to the average person, but also to art historians, through the major
masterpieces, or through the most easily accessible sites.
The analysis of the history of these publications provides insight into
the role played by photography in the diffusion and in the transmission
of knowledge in art history, in the constitution of André Malraux’s
“imaginary museum.” Malraux was a staunch supporter of these
publications, answer to his appeal.

The nineteenth century was the age of archaeology, when an amalgam of North American and European antiquarians, curators, writers, and artists embarked on a massive enterprise to document, collect and selectively illuminate what they perceived as lost civilizations from the unexplored regions of the earth. While it was a largely European enterprise, it is crucial to understand how intellectuals and government officials from those regions being studied participated in the competition to wrest control of the ancient past, an unruly process that led many countries of origin to create legal frameworks to protect their heritage. My focus here is on one of strategies the Mexican government used to reign in the collecting frenzy, while at the same time ensure that their own museums would be enriched with artefacts: the creation of an office of archaeological inspection. This chapter characterizes the interaction between collector and inspector as one shaped by imperial desire and personal gain. Using case studies of different inspectors at the federal and state level, I will reveal how the intense interest in the pre-Hispanic past led to political intrigue and corrupt practices, not only by foreign collectors hoping to gain an edge, but also by the Mexican government and their inspectors.

Em 1907, uma campanha militar portuguesa dirigiu-se ao sul de Angola para submeter os povos locais. Entre os expedicionários, seguiam dois fotógrafos que registaram vários momentos das manobras e diversos aspetos da paisagem e dos nativos, que foram mais tarde divulgados na imprensa. Neste artigo, analiso estas imagens no âmbito da relação entre o Eu europeu e o(s) Outro(s) africanos. Mostro como as imagens contribuíram para uma desigual relação de poder entre colonizador e colonizado, através da solidificação da representação do primitivismo do africano, como condição imprópria, que justificava a ação civilizadora do europeu.

No período entre o último quartel do século XIX e primeiros anos do século XX coincidiram em Portugal três processos históricos diferenciados, mas conexos: um modesto crescimento industrial, a disseminação da fotografia como prática corrente e a publicação de imagens fotográficas na imprensa ilustrada. Este artigo analisa o modo como uma revista ilustrada, O Occidente, representou a indústria portuguesa, através da publicação de fotografias ou gravuras de fotografias. Seguindo uma metodologia que combina semiótica com análise de conteúdo em fotojornalismo, este estudo mostra que O Occidente criou uma ideia da indústria nacional como um setor moderno, inovador e prova do progresso português, que não coincidia com a sua verdadeira realidade. Este artigo contribui para o debate académico sobre a importância da fotografia como fonte histórica (e não apenas como instrumento ilustrativo) e para história empresarial, nomeadamente as representações que se criavam e disseminavam sobre a indú...

Resumen: Motivadas por las críticas indígenas al archivo como instrumento de control externo sobre la representación y la memoria, estas reflexiones exploran los modos indígenas de conocer y recordar para repensar el archivo no como una colección estática de documentos almacenados, sino como una red dinámica de relaciones socio-ecológicas: un «archivo» expandido, sensorial y emergente. Prestando atención a las epistemologías indígenas -en las que el acto de conocer y recordar se considera una práctica de correspondencia con un mundo en constante cambio-, mi primer objetivo es ilustrar el papel de la localización en el conocimiento y la memoria. Este enfoque enriquece los debates sobre la territorialidad indígena y su relación con los derechos culturales y políticos. En segundo lugar, exploro la creación y el uso de este archivo sensorial indígena dentro de los procesos educativos, haciendo hincapié en la integración de las epistemologías indígenas en el discurso político decolonial sobre la autonomía, el autogobierno y el diálogo intercultural. En tercer lugar, abordo las cuestiones críticas de los derechos de propiedad intelectual y las políticas patrimoniales indígenas.

Abstract: Motivated by indigenous critiques of the archive as an instrument of external control over representation and memory, these reflections explore indigenous ways of knowing and remembering in order to rethink the archive not as a static collection of stored documents, but as a dynamic network of socio-ecological relationships: an expanded, sensory, and emergent “archive.” Paying attention to indigenous epistemologies—in which the act of knowing and remembering is considered a practice of correspondence with an ever-changing world—my first goal is to illustrate the role of emplacement in knowledge and memory. This approach enriches debates about indigenous territoriality and its relationship to cultural and political rights. Second, I explore the creation and use of this indigenous sensory archive within educational processes, emphasizing the integration of indigenous epistemologies into decolonial political discourse on autonomy, self-government, and intercultural dialogue. Third, I address the critical issues of intellectual property rights and indigenous heritage policies.

In this paper I explore the psychoanalytic background of creative photography in the second public sphere of socialist Hungary. Photography theory informed by Peirce' s semiotics and psychoanalytical concepts, permeated the European and Transatlantic art discourse of the seventies, associated with Walter Benjamin' s medium theory, which was developed in the thirties. In his seminal texts on photography and technical reproduction Benjamin introduces the concept of optical unconscious, and instead of the artist' s signature he draws our attention to the porous nature of lens based media letting the uncontrollable reality seep into picturing; he appreciates the unique and magical quality not of the photographer, but her/his subject. While in the Western art scenes Benjamin' s insights were intertwined with the Foucauldian archaeology of knowledge (critique of discourses), on the other side of the Iron Curtain underground artists preferring the medium of photography stepped into the Benjaminian path by "inventing" the performative camera and reloading the montage tradition. The protagonist of this study is Gusztáv Hámos and his photographic works from the 1970s, reconsidered and further developed in the context of his photographic films made in collaboration with Katja Pratschke from the aughts. Hámos made pictures align with his systematized and conceptualized photo-process, that he combined with acute social research (collaborating with sociologists), and developed in his private sphere in a peformative way involving "rebellious" artist friends. State control contributed to the development of the interdisciplinary and intermedial approach featuring in Eastern Block. The "amateur professional" in the squeeze of prohibitions was forced to discover uncharted territories, and the bricoleur-as the psychologist Ferenc Mérei called himself-would become the inventor of private circles freedom. A significant theme of this article is the so called "montage-debate". Montage was manifested as an interdisciplinary issue, a hub in Hungarian "broken" discourses. Thinking on montage created a space to exchange ideas between psychologists, communication theorists and artists, allowed the outlawed psychoanalysis to re-emerge thanks partly to Lacan' s semiotic understanding of Freudian terms. Research into the Hungarian tradition of photomontage shows that montage is not only a historical device of image criticism, but a creative process backed with deep-psychological awareness; i.e. psychoanalysis can be seen as a secret knowledge, a formative language that permeated the second public sphere, and the subversive use of photography.

In this study, the effect of the presence of _𝐴𝑙 2 𝑂 3 catalyst in 3 M methyl diethanolamine solution for removing carbon dioxide and regenerating the solution has been investigated. According to the results obtained from this research, this catalyst has caused an increase of 6.3 to 17.9 percent in the amount of carbon dioxide removal. Also, in this research, the effect of adding monoethanolamine with a concentration of 1 M and also piperazine with a concentration of 0.5 M to a base solution of 3 M methyldiethanolamine has been investigated. The results of this research showed that by adding different amines with specific concentrations to the methyldiethanolamine solution, it is possible to increase the amount of carbon dioxide removal. The amount of carbon dioxide removal increased to 26.1% in this stage. In all the experiments, the highest amount of carbon dioxide removal was related to the three-amine mixture and applying 45 grams of _𝐴𝑙 2 𝑂 3 catalyst, which increased the amount of removal to 39.3%.

Exploración de la relación entre el alma, el vacío y la espiritualidad en la obra escultórica de Jorge Oteiza. Partiendo de una tradición metafísica que concibe el alma como errante y desprotegida en el mundo moderno, se analiza cómo las Cajas metafísicas de Oteiza ofrecen un refugio espiritual mediante el vacío. Se establece un vínculo entre su obra y el pensamiento de Simone Weil, así como con el misticismo y las estructuras prehistóricas como los cromlechs. La escultura de Oteiza se presenta como espacio sagrado, donde el alma encuentra reposo, conciencia y trascendencia a través de la forma y la ausencia.

MENDES, Ricardo. A historiografia da fotografia em crise: um olhar sobre grandes narrativas produzidas entre 1970 e 2010. São Paulo: FFLCH-USP, 2024. doutorado em história social. orientação: Vânia Carneiro de Carvalho
https://doi.org/10.11606/T.8.2024.tde-10032025-101749

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Segmento do capítulo 1-Da história da fotografia: a historiografia moderna do meio, que destaca o panorama historiográfico nas décadas de 1930 e 1940 nos EUA, Inglaterra, França e Alemanha (p.39-43).

Trecho comenta a expografia da mostra Photography 1839-1937, realizada no MoMA NY entre 17.03 e 18.04.1937, com curadoria de Beaumont Newhall.

Ovaj prilog prikazuje transformaciju stare, oštećene sepija fotografije u živopisnu, kolorizovanu i animiranu multimedijalnu uspomenu. Koristeći napredne AI alate (Gemini za retuširanje i kolorizaciju, Pixverse AI za animaciju, uz muziku sa Pixabay.com i montažu na MovieMakerOnline.com), demonstrira se potencijal veštačke inteligencije za očuvanje i obogaćivanje porodičnih arhiva, pretvarajući statične slike u dinamične priče sa pokretom i zvukom.
This paper illustrates the transformation of an old, damaged sepia photograph into a vibrant, colorized, and animated multimedia memory. Utilizing advanced AI tools (Gemini for retouching and colorization, Pixverse AI for animation, with music from Pixabay.com and editing on MovieMakerOnline.com), it demonstrates the potential of artificial intelligence to preserve and enrich family archives, turning static images into dynamic stories with movement and sound.

Résumé de Ciel variable

Dans son essai Photographie et cinéma d’animation : états d’hybridité, Florence Le Blanc s’intéresse aux interactions fertiles entre ces deux médiums. En survolant plusieurs films québécois récents et plus anciens, elle met en lumière un état d’hybridité qui, selon elle, redéfinit les codes de la fiction. Elle souligne aussi la manière dont ces œuvres redonnent à la photographie une présence matérielle, en contraste avec la dématérialisation propre à notre époque numérique.

Metal printing has rapidly become one of the most popular choices in modern printing technology, especially in the fields of photography, interior décor, and professional branding. Unlike traditional paper prints or canvas, this method involves printing directly onto specially coated aluminum sheets. The result is a sleek, durable, and high-definition finish that enhances both colors and details, making metal printing a premium choice for artists, businesses, and homeowners alike. What is Metal Printing? Metal printing is a process where images, artwork, or designs are infused into a coated aluminum surface using a dye sublimation or direct printing technique. This creates a vibrant and longlasting print that resists fading, scratches, and moisture. The glossy or matte finish options add depth and sophistication, making the artwork look as though it is floating off the surface.

This article, part of the series Les 100 Photos du siècle, examines the historical and symbolic significance of the final photograph of Chilean President Salvador Allende, taken on September 11, 1973, during the military coup led by General Augusto Pinochet. The image, captured inside the presidential palace La Moneda amid aerial bombardment, marks the last visual testimony of Allende before his suicide. Initially anonymous, the photographer was later identified as Leopoldo Victor Vargas, an Air Force non-commissioned officer and official photographer to the presidency from 1964 to 1973. The revelation emerged through investigative efforts by Chilean journalist Hermes Benitez and Robert Pledge, director of the photo agency Contact, who published the findings in Septembre au Chili, 1971–1973. The article intertwines personal recollections of the author with broader reflections on the cultural and political aftermath of the coup, including the torture and execution of artist Victor Jara. It underscores the enduring power of visual and musical testimony in confronting historical violence and preserving democratic memory.

During her lifetime, Kati Horna used different names in different periods: Katalin or Kati Deutsch, her birth name, which she used until 1933; Katalin, Käthe or Catalina Partos, taken after her first marriage and under which she appears in various instances between 1933 and 1939; and Catalina Fernández Blau, under which she obtained refuge in Mexico in 1939, and which remained her legal name until her death. This diversity of identities, which reflects Horna's complicated personal trajectory, has contributed to the difficulty of reconstructing her early life.

In this article, I sketch an overview of Kati Horna’s trajectory, emphasising photography's role in facilitating material sustenance and creative fulfilment. Remaining close to the illustrated press throughout her career, Horna produced a thematically and stylistically diverse body of work that defies categorisation under specific artistic movements. Some of her most personal work discreetly references life circumstances that she refrained from discussing in public. Such is the case of a 1962 series about a woman vampire that reimagines a nativistic and anti-Semitic trope as an allegory of cultural assimilation. In the final section of this article, I discuss how this series reflects Horna's affection for Mexico City as a place of personal and creative renewal.

Review of Victorian Visions of War and Peace: Aesthetics, Sovereignty and Violence in the British Empire, c. 1851–1900, by Sean Willcock; pp. v + 278. New Haven and London: The Paul Mellon Centre for Studies in British Art, Yale University Press, 2021, £40.00, $65.00.

This essay reconstructs the formation of the archaeological collection
at Mexico’s Museo Nacional in the nineteenth century by turning
to the written and visual lists (inventories, catalogs, and albums) the
curators kept as they strove to understand and name its antiquities. Taken
together, these lists document the collection’s uncontestable expansion. Ultimately, these museum lists tell a larger story: the construction
of “the pre-Hispanic” as a category of collecting and study What does
a Mexican antiquity look like? What gives collective (aesthetic, stylistic,
or material) identity to objects classified as ancient Mexican? What
happens with those objects that fall outside classificatory systems?

No presente artigo, pretende-se inserir a publicação do boletim do Foto Cine Clube Bandeirante no circuito de publicações especializadas em fotografia na primeira década do século XX, na cidade de São Paulo, a fim de, em seguida, analisar um momento específico dessa produção. Acompanhando os boletins publicados entre 1946 e 1951, podese perceber que os artigos começaram a oscilar entre a defesa da estética pictorialista e o surgimento, ainda tímido, de discursos e imagens que adotavam como caminho para novas possibilidades visuais, a experimentação, chamada de fotografia moderna. Optou-se por abordar o fotoclube e a fotografia como componentes do campo cultural das visualidades. Dessa forma, as redes de contato criadas com outros clubes, jornais de grande circulação e instituições públicas são importantes, pois possibilitam mapear o campo de atuação e de embate das práticas fotográficas que buscavam a inserção da fotografia nos espaços consagrados da arte: museus, galerias, bienais.

No presente artigo, pretende-se inserir a publicação do boletim do Foto Cine Clube Bandeirante no circuito de publicações especializadas em fotografia na primeira década do século XX, na cidade de São Paulo, a fim de, em seguida, analisar um momento específico dessa produção. Acompanhando os boletins publicados entre 1946 e 1951, podese perceber que os artigos começaram a oscilar entre a defesa da estética pictorialista e o surgimento, ainda tímido, de discursos e imagens que adotavam como caminho para novas possibilidades visuais, a experimentação, chamada de fotografia moderna. Optou-se por abordar o fotoclube e a fotografia como componentes do campo cultural das visualidades. Dessa forma, as redes de contato criadas com outros clubes, jornais de grande circulação e instituições públicas são importantes, pois possibilitam mapear o campo de atuação e de embate das práticas fotográficas que buscavam a inserção da fotografia nos espaços consagrados da arte: museus, galerias, bienais.

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

Ma reconnaissance va en premier lieu à andré Gunthert et à Michel Poivert, qui ont accepté de diriger ces recherches et les ont accompagnées avec constance et bienveillance. Je les remercie tout particulièrement pour leur séminaire enthousiasmant, les projets porteurs, leurs exigences, leurs conseils et les échanges structurants que nous avons eus. Je souhaite également remercier tout particulièrement Bernard Boller, Henri Bureau, dominique Bruigière, Yvo chorne, Ferit duyzol, Jean-Pierre Fizet, Béatrice Garrette, thérèse Genevois, Hubert Henrotte, dominique lecourt, daniel légerot, René Mahaut, Richard Melloul, Bernard Perrine, Jean-louis swinners, Mete Zihnioglu,… pour les entretiens et le temps qu'ils ont bien voulu m'accorder pour me parler de leurs différentes professions pour comprendre une partie des différentes logiques à l'oeuvre dans la fabrique de l'information. dans ce parcours, je souhaite notamment remercier la Fondation caron et sa générosité quant aux partages d'archives et de projets ; de même que corbis sygma pour le franc accès à leurs fonds. Je remercie très spécialement sébastien dupuy, collègue dans ce travail sur les agences et l'histoire des fonds photographiques et camarade. en souhaitant que ces recherches, qui sont déjà un milieu tout en ayant une première fin, ne soient qu'un début. Remercier également Marie-Ève Bouillon pour tous les échanges constructifs et bienveillants autour des archives et autres causeries délicieuses. Merci aussi à nicole even de m'avoir donné accès au fonds de Gaulle aux archives nationales, alors qu'il était en cours d'inventaire ; à christian delage de m'avoir accueillie à l'iHtP en ces derniers mois d'écriture et à Vincent auzas pour les conseils judicieux alors. un grand merci aussi à toutes les rencontres faites lors des projets -d'articles, de colloques ou autres workshop -qui ponctuent le chemin, confirment et ouvrent de nouvelles pistes de réflexions et donnent corps à ce qui relève parfois de l'abstraction. Ma gratitude va enfin à l'atelier du Lhivic pour l'enthousiasme joyeux des débuts et les discussions animées qui ont structuré plusieurs de nos travaux :

USA during the 1960s and the 1970s 1 "The indispensable Emma Gurry was in charge of the photo library -the back inventory of prints accumulated for years of assignments. She had been with Black Star from the very beginning and she knew every picture. When a client called with a request, Emma singlehandedly did the research, made the selection, generated the paperwork and packed it all up. The material would then be turned over to Fred Viertel, who would ferry it to its destination 2 ." Photographic press agencies are much studied from a news perspective, a specificity they claim and on which the history of photojournalism is built for the most part, especially from the second half of the 20 th century. Black Star, "a major photographic press agency" 3 , is one of the flagships in this prestigious American history: and was, in Matt Herron's words, "a major force during those years" 4 . The presentation of the Black Star Collection kept at the RIC 5 underlines both the diversity of the production is highlighted and the commercial aspect of the agency 6 (by assigning a special place to the Corporate 7 ). However, these agencies, which are responsive to multiple news items (news, politics, culture, etc.), i.e. are sensitive to the date of the events photographed, paradoxically adopt a classification of images by theme, including for news, reduced to keywords. The thematic management of images and/or Emma Gurry's work in the Black Star Agency's photo library still are two poles of a blind spot in the history of photojournalism: the iconographic exploitation of these collections. Most of the Werner Wolff archive held at the RIC concerns his production of for Black Star (AG02.02, 1,125 files) 8 . Partly classified into two sub-series "Commissioned for Corporations" and "Commissioned for The Press", most of his production (658 files) remains unallocated 9

En 2008, Boris Gobille souhaite libérer Mai 68 d'une série d'interprétations qui font écran à la compréhension historique de l'événement, encore trop soumis aux « impasses de sa circulation mémorielle ultérieure ». En effet, celui-ci fait immédiatement l'objet d'interprétations et sa célébration, lors de ses anniversaires décennaux successifs, donne lieu à autant de stratifications narratives supplémentaires. De plus, cette « emprise mémorielle, qui fait écran, s'est trouvée d'une certaine façon redoublée dans son principe par l'optique que retient à son tour l'entreprise des Lieux de mémoire 2 » de Pierre Nora, pour qui « l'événement n'a de sens que commémoratif 3 ». En 2008 encore, l'historienne spécialiste de Mai 68 Michelle Zancarini-Fournel publie une synthèse en forme de mise à plat raisonnée de toutes ces interprétations 4 et propose un panorama des ressources disponibles pour en poursuivre et en approfondir les analyses d'ambition historienne. Son ouvrage ratifie l'impossibilité de nier ces strates interprétatives -commémoratives, répétitives et stéréotypées, elles font partie de l'historiographie de Mai 68 -, mais aussi la nécessité de s'en extraire pour avancer dans l'écriture de l'histoire des événements. De telles réflexions prennent place dans le débat épistémologique des rapports de l'Histoire à la mémoire, qui marque la fin du XX e siècle en France. L'impact de l'univers médiatique (télévision et radio au premier chef), désigné comme acteur important du débat, est essentiellement discuté pour les poncifs narratifs qu'il véhicule. La presse magazine fait l'objet d'interrogations similaires, bien que dans une moindre mesure. De manière paradoxale, la photographie de presse apparaît ici comme une icône autonome, considérée en dehors de tout contexte de publication. Celle-ci est pourtant un outil de l'écologie médiatique, qui demande à être observée et pensée en fonction de son exploitation dans ce cadre. Loin de la mythologie de la neutralité documentaire, elle apparaît comme soumise à des usages narratifs immédiats, mais aussi à une gestion a posteriori qui privilégie sa réutilisation. La rétrospective 1. L'auteur souhaite remercier André Gunthert et Alexie Geers pour leurs précieuses relectures. 2. Boris Gobille, « "L'événement Mai 68" Pour une sociohistoire du temps court », in Annales.

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

HAL is a multi-disciplinary open access archive for the deposit and dissemination of scientific research documents, whether they are published or not. The documents may come from teaching and research institutions in France or abroad, or from public or private research centers. L'archive ouverte pluridisciplinaire HAL, est destinée au dépôt et à la diffusion de documents scientifiques de niveau recherche, publiés ou non, émanant des établissements d'enseignement et de recherche français ou étrangers, des laboratoires publics ou privés.

 L'ouvrage collectif  A perte de vue. Nouveaux paradigmes du visuel vient de paraître aux  Presses du réel. Dirigé par Daniel Dubuisson et Sophie Raux, cet ouvrage est le fruit d'une expérience originale et novatrice qui a été menée dans le cadre du Réseau Thématique Pluridisciplinaire « Visual Studies – Les nouveaux paradigmes du visuel » initié par l'Institut des Sciences Humaines et Sociales du CNRS entre 2010 et 2012, à laquelle j'ai eu le plaisir de participer. Je remercie chaleureusemen..

In 2010, shortly after the compulsory liquidation of Corbis-Sygma, uncertainties bearing on the future of the Sygma archive began to be realized. Photojournalism agencies compile collections or albums whose primary function is as promotional tool but which are willingly presented as a vision of history. This professional vulgate, in which the figure of the photographer is central and photography sovereign, constructs a primitive history of photojournalism undertaken by its own agents which shields it from any account that may challenge it. Claiming the status of humble, and transparent, representative of History, media outlets are loath to admit a role of active mediator, the economic logic of which would clash with the code of ethics they present. Owing to the context created by the digital transition crisis, and the exploitation of it by Corbis, we were granted access to the Sygma archive, the paragon of the new generation of photographic agencies that emerged in France at the end...

En 2010, peu apres la liquidation judiciaire de Corbis-Sygma, les incertitudes qui pesent sur le devenir du fonds Sygma s'expriment. Les instances du photojournalisme editent des compilations ou albums qui sont d’abord des outils promotionnels mais se presentent volontiers comme une vision de l'histoire. Cette vulgate professionnelle, dans laquelle la figure du photographe est centrale et la photographie souveraine, construit une histoire primitive du photojournalisme prise en charge par ses propres acteurs, qui fait ecran a tout autre recit concurrent. Revendiquant un statut de simple relais transparent de l’Histoire, les instances mediatiques repugnent a admettre un role de mediateur actif, dont les logiques economiques entrent en contradiction avec l'affichage deontologique. A la faveur du contexte de crise de la transition numerique, et dans le cadre de son exploitation par Corbis, nous avons pu avoir acces au fonds Sygma, parangon de la nouvelle generation d’agences...

Ces recherches deplient les pans de la mediatisation des evenements de mai juin 1968 en France par la presse magazine et les entreprises du photojournalisme au cours des 45 dernieres annees. L'etude de cas du dit Mai 68 donne la mesure de la construction de l'histoire par le journalisme en faisant le choix de l'analyse a l'echelle de l'evenement. Une chaine editoriale conduit a l'elaboration des recits mediatiques ; elle n'a pas vocation a etre vue, les medias revendiquant leur objectivite, leur transparence. Restituer la place des images dans ces elaborations, les considerer sous l'angle de l'occurrence editoriale met en evidence cette chaine et le role des images dans la mise en forme des evenements et leur qualification. Elle amene a prendre la mesure du role de l'editeur dans ces elaborations mediatiques. La demarche historienne et culturaliste redonne sa place a l'agence de photographie, entreprise qui exploite/commercialise les image...

USA during the 1960s and the 1970s 1 "The indispensable Emma Gurry was in charge of the photo library -the back inventory of prints accumulated for years of assignments. She had been with Black Star from the very beginning and she knew every picture. When a client called with a request, Emma singlehandedly did the research, made the selection, generated the paperwork and packed it all up. The material would then be turned over to Fred Viertel, who would ferry it to its destination 2 ." Photographic press agencies are much studied from a news perspective, a specificity they claim and on which the history of photojournalism is built for the most part, especially from the second half of the 20 th century. Black Star, "a major photographic press agency" 3 , is one of the flagships in this prestigious American history: and was, in Matt Herron's words, "a major force during those years" 4 . The presentation of the Black Star Collection kept at the RIC 5 underlines both the diversity of the production is highlighted and the commercial aspect of the agency 6 (by assigning a special place to the Corporate 7 ). However, these agencies, which are responsive to multiple news items (news, politics, culture, etc.), i.e. are sensitive to the date of the events photographed, paradoxically adopt a classification of images by theme, including for news, reduced to keywords. The thematic management of images and/or Emma Gurry's work in the Black Star Agency's photo library still are two poles of a blind spot in the history of photojournalism: the iconographic exploitation of these collections. Most of the Werner Wolff archive held at the RIC concerns his production of for Black Star (AG02.02, 1,125 files) 8 . Partly classified into two sub-series "Commissioned for Corporations" and "Commissioned for The Press", most of his production (658 files) remains unallocated 9