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THE CENTER FOR CULTURAL ANALYSIS print matters: histories of photography in illustrated magazines APRIL 8 APRIL 9 Between 1910 and 1970, the vast majority of photographs printed and consumed around 10:10 – 10:25 10:10 – 12:30 the world appeared on the pages of illustrated magazines. These pictures rarely surfaced as INTRODUCTION MAGAZINES AND autonomous entities, set off from their paginated SYSTEMS OF PICTORIAL context as the sort of discrete objects that 10:25 – 11:40 ORGANIZATION generally fgure in our standard histories of MAGAZINES AND THEIR | LUNCH BREAK | photography. Instead they were presented in ONTOLOGY carefully edited sequences, set cheek-by-jowl 2:00 – 4:30 against other photographic series, and placed 11:45 – 1:00 MAGAZINES, into the integrated company of text and graphic KEYNOTE TALK I COMMUNITIES, work. The two-day workshop, complete with two THIERRY GERVAIS MODERNITIES public keynote talks, will explore this printed matter by asking how we isolate and defne the | LUNCH BREAK | 4:45 – 6:00 illustrated periodical as an object of research. 2:00 – 3:30 KEYNOTE TALK II SUSAN MEISELAS MAGAZINES AND NATION The event is FREE and open | COFFEE BREAK | to the public, but seating is limited in the workshop 3:45 – 5:45 sessions. Keynote Talks MAGAZINES AND are fully open. CULTURAL TRANSFER APRIL 8–9 Please RSVP to Andrés Zervigón at [email protected]. NEW YORK PUBLIC LIBRARY CO-CONVENERS: maria antonella pelizzari 5TH AVENUE AND 42ND STREET hunter college, cuny WORKSHOPS ROOM For the full program, see andrés mario zervigón : 201 www.developingroom.com. rutgers university KEYNOTES: CELESTE BARTOS EDUCATION CENTER CO-SPONSORED BY: center for cultural analysis, rutgers university | developing room working group, rutgers university | photography collection, new york public library | department of art and art history, hunter college | department of art history, rutgers university | office of the dean of humanities, sas, rutgers university Between 1910 and 1970, the vast majority of photographs NEW YORK PUBLIC LIBRARY printed and consumed around the world appeared on the pages of 5TH AVE & 42ND STREET illustrated magazines. These pictures rarely surfaced as autonomous entities, set off from their paginated context as the sort of discrete objects april that generally figure in our standard histories of photography. Instead they were presented in carefully edited 8-9 sequences, set cheek-by-jowl against other photographic series, and placed into the integrated company of text and graphic work. Unlike the single prints from which it was heavily drawn, the illustrated magazine was a broadly expansive and alluring amalgam that regularly arrived on private doorsteps and local kiosks before spilling into the CO-SPONSORED BY: everyday lives of consumers of goods and center for cultural analysis, politics. As the Internet does today, the rutgers university illustrated magazine significantly defined a developing room working global visual knowledge of the world. group, rutgers university Despite such potent omnipresence, photography collection, new however, we have yet to devise a method york public library for studying this plenitude of mass-printed department of art and art matter that foregrounded the photograph so history, hunter college powerfully. At our workshop Print Matters, we department of art history, are encouraging participants to address this rutgers university lacuna by exploring a fundamental question: office of the dean of how do we isolate and define the illustrated humanities, sas, rutgers THE university periodical as an object of research? In CENTER FOR approaching this question, we have encouraged CULTURAL ANALYSIS studies that explore the magazine as a physical object CO-CONVENERS: and, in turn, a complex cultural artefact firmly embedded maria antonella pelizzari in any one location and time. hunter college, cuny Our analytic point of departure is that illustrated andrés mario zervigón magazines took shape as a rich ecosystem of multi-media rutgers university representation, and provided an important transactional frame where artists, authors, advertisers and readers print coalesced into communities not just through printed text, graphic work and image, but also, and most especially, through photography. This two-day discussion revisits matters: paradigmatic cases of magazine histories in Europe and the United States. It also covers illustrated periodicals histories of photography from areas of the world where the format thrived but has, until now, received limited scholarly attention, including in illustrated magazines Sub-Saharan Africa, the Middle East, South Asia, East Asia and Latin America. 10:10-10:25 10:10-12:30 IntRoductIon MAgAzInes And systeMs of PIctoRIAL 9 8 Maria Antonella Pelizzari Hunter College, CUNY oRgAnIzAtIon Andrés Mario Zervigón Rutgers University Jennifer Greenhill University of Southern California 10:25-11:30 Jordana Mendelson New York University MAgAzInes And theIR ontoLogy Albums and/as Magazine: The Commissariat de Propaganda's Photo Albums and the Design of Christopher Phillips International Center of Photography the Picture Press during the Spanish Civil War Jason Hill University of Delaware “This is Not A Magazine” Sally Stein Emeritus, UC Irvine Mainstream Differences. The Distinctive Looks of Life Vanessa Rocco Southern New Hampshire University and Look in U.S. Media Culture Lorant, Layouts, and Cinema: Metropolis to the Münchner Illustrierte Presse and Beyond Mary Panzer Independent Scholar Before and After: Look, the FSA Legacy, and the 11:45 Origins of MS Magazine Keynote tALK I Vince Aletti The New Yorker APRIL APRIL Thierry Gervais Ryerson University The Brief Wondrous Life of Junior Bazaar The Making of (Modern) Magazines Nadya Bair University of Southern California LUNCH BREAK Magnum on Holiday: Photographers, Editors, and the Demands of Postwar Magazine Photography 2:00-3:30 MAgAzInes And nAtIon LUNCH BREAK Romy Golan City University of New York Graduate Center 2:00-4:30 Thy Phu Western University MAgAzInes, coMMunItIes, ModeRnItIes Vietnam Pictorial, Visual Restoration, and National Patrizia di Bello Birkbeck, University of London Renovation (1954-75) Joan Judge York University Iliana Cepero The New School | New York University Portraits of Chinese Ladies in the Age of The Magazine Mundo Peronista in Perón’s Argentina the Global Periodical Daniel H. Magilow University of Tennessee Jennifer Bajorek Hampshire College The Spectacular and The Banal: On the Visual Logic Decolonizing Print Culture: The Example of Bingo of the Illustrierter Beobachter David Campany University of Westminster COFFEE BREAK VU magazine: Photography between the avant-garde and the mainstream press 3:45-5:45 Cara A. Finnegan University of Illinois at Urbana-Champaign MAgAzInes And cuLtuRAL tRAnsfeR Fortune Magazine and the New Visual Politics of Maren Stange The Cooper Union the Candid Camera Christian Joschke University of Paris Ouest-Nanterre The German model and the French singularity: the AIZ Margaret Innes Harvard University and Regards (1928-39), a cultural transfer Light and Shadow on Machines: Industrial Photography in Fortune Magazine, 1930-1936 Isotta Poggi Getty Research Institute The Stars of Vie Nuove 4:45 David Forgacs New York University Keynote tALK II Photographic afterlives of neorealism: the fotodocumentari Susan Meiselas Magnum Foundation of Cinema Nuovo 1955-56 Revisiting the Magazine Paul Roth Ryerson Image Centre Saving Flavio: Gordon Parks, LIFE Magazine and Poverty in Brazil Print Matters: Histories of Photography in Illustrated Magazines April 8-9, 2016 New York Public Library Convened by: The Developing Room at the Center for Cultural Analysis, Rutgers University; the Photography Collection, New York Public Library; and the Department of Art and Art History, Hunter College, CUNY Maria Antonella Pelizzari (Hunter College, CUNY) Andrés Mario Zervigón (Rutgers University) Between 1910 and 1970, the vast majority of photographs printed and consumed around the world appeared on the pages of illustrated magazines. These pictures rarely surfaced as autonomous entities, set off from their paginated context as the sort of discrete objects that generally figure in our standard histories of photography. Instead they were presented in carefully edited sequences, set cheek-by-jowl against other photographic series, and placed into the integrated company of text and graphic work. Unlike the single prints from which it was heavily drawn, the illustrated magazine was a broadly expansive and alluring amalgam that regularly arrived on private doorsteps and local kiosks before spilling into the everyday lives of consumers of goods and politics. As the Internet does today, the illustrated magazine significantly defined a global visual knowledge of the world. Despite such potent omnipresence, however, we have yet to devise a method for studying this plenitude of mass-printed matter that foregrounded the photograph so powerfully. At our workshop Print Matters, we are encouraging participants to address this lacuna by exploring a fundamental question: how do we isolate and define the illustrated periodical as an object of research? In approaching this question, we have encouraged studies that explore the magazine as a physical object and, in turn, a complex cultural artefact firmly embedded in any one location and time. Our analytic point of departure is that illustrated magazines took shape as a rich ecosystem of multi-media representation, and provided an important transactional frame