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"Palestine Pictorial works"
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The “Colonial” Vantage Point: Imperial Photography in Mandatory Palestine
Photography and its production, dissemination and reception is a contested terrain in the scholarship of arts during the Mandate Era. Instead of juxtaposing different “national” viewpoints, the article adopts the perspective of an ostensible outsider, the American Colony photographer, Eric Matson. Matson's photographic angle on the realities of the Mandate captured local and global imaginations, and his imperial gaze has much to teach about local political dynamics in an increasingly sectarian space. The article explores his relationship with local inhabitants and international news agents, and the ways in which his status as a creator and agent of images influenced his photographic perspectives. It suggests that despite Matson's close access to the transformations and actors in his surroundings, his ability to engage with them declined over the years. Ultimately his loyalties would be with the international audiences who shaped his decision to perpetuate imperial views. Matson's photography, in its internationalist aspirations and imperial character, illuminates the relationship between the networks of global news communication and the imperial infrastructure that shaped them. His story, thus, reveals an unacknowledged vantage point on the tensions between local national movements and global influences in the Middle East. Finally, the article probes the global historical nature of local photographic production and its importance in scholarship on the Mandate Period.
Journal Article
Against the Wall
Featuring the work of acclaimed artists such as Banksy, Ron English, and Blu, as well as Palestinian artists and activists, the photographs in this collection express outrage, compassion, and touching humor while illustrating the lives and livelihoods of the tens of thousands of people affected by Israel's wall. This stunning book of photographs details the graffiti and art that have transformed Israel's Wall of Separation into a canvas of symbolic resistance and solidarity. The compelling images are interspersed with vignettes of the people whose lives are affected by the wall and who suffer due to a lack of work, education, and vital medical care. This stunning book of photographs captures the graffiti and art that have transformed Israel's wall into a living canvas of resistance and solidarity. Featuring the work of artists Banksy, Ron English, Blu, and others, as well as Palestinian artists and activists, these photographs express outrage, compassion, and touching humor. They illustrate the wall's toll on lives and livelihoods, showing the hardship it has brought to tens of thousands of people, preventing their access to work, education, and vital medical care. Mixed with the images are portraits and vignettes, offering a heartfelt and inspiring account of a people determined to uphold their dignity in the face of profound injustice.
eBook
Negotiating Presences: Palestine and the Weimar German Gaze
The new Jewish presence in Palestine brought about by Zionism and consolidated politically by the Balfour Declaration reintroduced into the German and German Jewish consciousness the idea of the proximity of Jews to the Orient while challenging their image as “orientals.” It was photography that showed such new Jewish appearances especially palpably and that confronted viewers with a changing Holy Land. This article discusses three photo books on Palestine published in 1925, using them as markers for the contested presences and absences of Jews and Judaism in Germany. The books discuss the status of Palestine and the role of Jews as its new, old colonizers, allowing for a plethora of opinions on the political meaning of Zionism, many of which would be attacked soon thereafter.
Journal Article
Photography, Memory and Ethnic Cleansing: The Fate of the Jewish Quarter of Jerusalem, 1948-—John Phillips' Pictorial Record
Much of the recent academic literature on the 1948 war portray it a one-sided-—and thus simplistic-—ethnic cleansing of the Arab population of Palestine. Referred to as the Naqba paradigm, it features the Jews/Zionists as villainous perpetrators and the Palestinian Arabs as feeble victims. Accordingly, the story of \"“the 1948 Ethnic Cleansing of Palestine\"” excludes expulsion and massacres of Jews, the destruction of Jewish communities, and the erasure of the Jewish signifiers in the local landscape from the story. As made explicit in John Phillips' photo-reportage featuring the destruction of the Jewish Quarter of the Old City of Jerusalem, the ethnic cleansing of Palestine also involved the expulsion of Jews and the destruction of their communities-—whenever and wherever military power relations were in favor of Arab forces.
Journal Article
The Zionist Message Hidden within Antique Pictures of the Holy Land
A 110-year-old trove of pictures taken by the Christian photographers of the American Colony in Jerusalem provides dramatic proof of thriving Jewish communities in Palestine. Hundreds of pictures show the ancient Jewish community of Jerusalem's Old City and the Jewish pioneers and builders of new towns and settlements in the Galilee and along the Mediterranean coastline. The American Colony photographers recorded Jewish holy sites, holiday scenes and customs, and they had a special reason for focusing their lenses on Yemenite Jews. The collection, housed in the U.S. Library of Congress, also contains photographs from the 1860s, the first years of photography. These photographs provide a window rarely opened by historians—for several unfortunate reasons—to view the life of the Jews in the Holy Land. The photographs' display and online publication effectively counters the biased narrative claiming that the Jewish state violently emerged ex novo in the mid-twentieth century.
Journal Article