use of portraiture to foster humanistic care

It has been said that a picture says a thousand words, that art should speak for itself. Within the social sciences, there is recognition that images are not merely illustrations, but “texts” that can be read, studied and interpreted in different ways: they are visual narratives. When we look at a work of art, we respond with our own thoughts, feelings and ideas about what it communicates. When we look at a portrait specifically, we are not just looking at a picture of an individual, we are looking at a picture of someone being looked at. It is a visual record of an interaction, as much as a likeness of the person. The artist-sitter relationship has much in common with the doctor patient relationship involving trust, attention, and an openness to ambiguity and creativity. As clinicians that are tired and feeling overwhelmed, we may objectify patients. Engaging with art can help hone our skills to consistently see the whole person. It provides freedom to sit with ambiguity and maintain curiosity and can help us become more flexible in our thinking, to hold multiple possibilities in mind at the same time. Viewing art in a group provides opportunities to understand and appreciate others’ perspectives. Drawing on multiple portraiture projects related to pediatric epilepsy, youth mental health and dementia, this presentation will provide constructive ways in which portraiture can be used to foster humanistic, patient centred care, and to understand the power of distributed cognition.

Urban Social Hauntings: Disappearing Gravestone Murals in Gentrifying Brooklyn

This article concerns the disappearance of gravestone (or “rest in peace”) murals in gentrifying Brooklyn, New York. Social hauntings reveal the unresolved violence of Black disposability and dispossession, as it manifests in the urban landscape in periods of urban decline and gentrification; gravestone murals are forms of “wake work” that attend to social haunting, accounting for Black life and death in urban place. This article first considers the wake work of gravestone murals, that they are memorials, archives of collective memory, spaces of worldmaking, and resistance to anti-Black violence. Because gravestone murals illustrate how Black people produce meaning in the urban landscape, they are also forms of Black spatial production. The article then explores the emergence of newer, stylized murals as aesthetic commodities that bring social and economic value to urban space, while commodifying Black life and death. The disappearance of gravestone murals, a visual record of the urban crisis, indicates the transformation of Black urban space in the 21st century.

Colonial Legacies

In Colonial Legacies, Gabriella Nugent examines a generation of contemporary artists born or based in the Congo whose lens-based art attends to the afterlives and mutations of Belgian colonialism in postcolonial Congo. Focusing on three artists and one artist collective, Nugent analyses artworks produced by Sammy Baloji, Michèle Magema, Georges Senga and Kongo Astronauts, each of whom offers a different perspective onto this history gleaned from their own experiences. In their photography and video art, these artists rework existent images and redress archival absences, making visible people and events occluded from dominant narratives. Their artworks are shown to offer a re-reading of the colonial and immediate post-independence past, blurring the lines of historical and speculative knowledge, documentary and fiction. Nugent demonstrates how their practices create a new type of visual record for the future, one that attests to the ramifications of colonialism across time.

»Erez Israel from the Air 1937–38«

In September 1938, German-Jewish merchant, publisher and patron Salman Schocken, who emigrated to Palestine in 1934, presented an album of 40 aerial photographs of the Land of Israel as a sign of gratitude to the well-wishers on his 60th birthday the previous year. The pictures were taken by Hungarian-Jewish photographer Zoltan Kluger, who had worked in Berlin since the 1920s and became the »chief photographer« of Keren Hayesod and the Jewish National Fund after his immigration at the end of 1933. There is only little information about their collaboration on this extraordinary project and the album of which a copy has been preserved in the Archives of the National Library of Israel. »Erez Israel from the Air 1937–38«, as the album is also known, with Klugerʼs stunning aerial shots, shows a unique view of historical and biblical landscapes, the Judean Desert and the Jordan Valley, but first and foremost they are a visual record of the architectural history of the Yishuv: starting with the settlements of the First Aliya, the founding of Kibbutzim and Moshavim, the urban development of Jerusalem, Tel Aviv and Haifa, up to the Stockade and Tower settlements since the outbreak of the Arab revolt in 1936. They are presented in the following article. Readers are invited to view the whole album and the photographs at a higher resolution online here: https://rosetta.nli.org.il/delivery/DeliveryManagerServlet?dps_pid=IE38046962.

Vernacular Painting and Transitional Beijing

Created around 1915, Chen Shizeng's Beijing Fengsu album represents a pictorial experiment that led to his subsequent well-known theoretical recasting of Chinese literati painting as a progressive and universally comprehensible visual language. Through an examination of the stylistic and technical innovations of the paintings, the essay demonstrates that the album's function as a visual record of Beijing folk customs is in part a historical byproduct of a then urgent attempt to establish the pictorial expression of a new subjectivity by a leading member of China's last generation of literati. Through the aid of drawing from direct observation, emulation of visual effects from Western-style drawing using Chinese ink and pigments, incorporation of antiquarian motifs, and unconventional compositional schemes, the album managed to reinvent vernacular painting (fengsu hua) and establish the popular pictorial genre manhua in modern China.

Coins

The evidence provided by coins has not been systematically incorporated in studies of ancient sport and spectacle. Coins are a source material as important as other documentary and visual sources; arguably, they are potentially of even greater importance, since coins constitute a more complete visual record than any other surviving form of ancient art. Students of sport and spectacle that will benefit most from numismatics are those who grapple with questions about identity, perception, and political expediency in the ancient games. This contribution explores the different ways in which sport and spectacle were referred to on Greek and Roman coins. In the Greek world, city-states referred to festivals and athletics on their coins to announce their identities, whether through the depiction of Panhellenic festivals, local competitions, or the renowned athletes to which they were home. Even under Roman rule, coins of the Greek cities made reference to games in this way. In the Roman republic and empire, coin designs dealt more with the ideological agenda of the authority behind the production of coins (e.g., republican moneyer, late republican triumvir, or the emperor). As a result, depictions of games tended to reflect political expediency. For instance, some republican moneyers promised to hold games if elected to the aedileship and some emperors commemorated their sponsorship of and provisioning for games. Many coins that celebrated certain festivals or construction work on entertainment buildings may have been produced for special distributions, perhaps at the festivals or dedicatory games in question.

Sibbaldia procumbens: An icon redrawn

A new cover has been created for Sibbaldia the International Journal of Botanic Garden Horticulture to commemorate the 350 Anniversary of the Royal Botanic Garden Edinburgh (RBGE) in 2020. The Sibbald Trust, which supports the work of the Garden, agreed to fund the commissioning of a botanical drawing of the alpine species Sibbaldia procumbens L. to be used as the cover image for volume 20 and subsequent volumes. The drawing and accompanying colour wash overlay will become part of the RBGE Florilegium - a collection of botanical drawings that form a visual record of the Living Collection and a reflection of the scientific and horticultural interests of the institute. This article describes the process of creating a painting of a small plant with minute details. Colour images of the plant and the drawings are also reproduced.

Gramophone, Masinatahikan – Typewriter, Press, Our Mother(s) Tongue

This essay discusses a wide range of media—including an 1853 Albion Cree Press, a Cree typewriter, and contemporary Indigenous artworks—to create a sense of the multiplicity of Indigenous technologies available for study today and the vastness of the visual record. While older art historical studies would be limited to so-called high art, namely paintings and sculpture, this essay takes an expansive approach to consider multiple examples of visual culture in the formation of Indigenous literacy traditions. The work considers the importance of birchbark biting and moss in the pictorial record, for example, as a form of Indigenous technology. This essay has also been inspired by recent conversations with my mom and colleagues in the discipline of contemporary art and for that I am thankful and try to reflect a more conversational approach to the media discussed herein as a methodology of upending binaries and tensions of spoken and unspoken and not-as-yet written stories. The research engages in visual analysis of Indigenous literary artifacts and images. By Indigenous literacies I mean the way Indigenous people have engaged and engage technologies and media to move ideas forward, to create art and culture. The essay takes a speculative approach, using some stories about artworks and narrative approaches to honor a history of Métis and Cree paths to knowledge that are based on storytelling rather than definitive histories. As a person of Métis ancestry on my maternal side, I write this essay not as a fluent Cree or Michif speaker, but as one who is in a life-long process of language learning. Analysis of visual imagery expands staid notions and simplistic understandings of Indigenous literacies as solely based on writing.

Abu Ghraib and the commemorative violence of war trophy photography

The photographs from the Abu Ghraib scandal are horrific, but they are also understandable. Simply put, the Abu Ghraib photos are purposeful compositions that highlight victory over the enemy Other in war. The photos illustrate sexual and racial violence, founded upon postcolonial narratives, but this is only a starting point for their significance. I address how meaning is made for the U.S. military personnel who took photographs of naked Iraqi detainees at Abu Ghraib, by looking backward to soldiers’ photography from WWI and II, and by considering soldiers’ online sharing of photographs in the present, examining roughly fifty photos total. The relationships between photographic materiality, emotional and gestural communication, and the production of cultural memory, disseminated via networked circulation, all shape how soldiers’ wartime photographs come to be regarded. Employing an interdisciplinary approach, this research draws upon war photography; visual culture and communication; sociology of groups and ritual; sociology of emotion; combat histories; memory studies; and online photo sharing practices. In so considering, the Abu Ghraib photos are not unique, and are instead grouped within the greater concept of the “war trophy.” I expand on this concept by defining “war trophy photography” as the entwined practices of war photography and trophy collection, rooted in ritual and group solidification. Staged to depict the violent conquering of the enemy, I argue that war trophy photography recognizes war efforts through the construction of a visual record, one that reproduces relations of dominance and submission. I call this representation “commemorative violence,” a central concept I develop to define the war trophy photograph. In addition to grounding the Abu Ghraib photos historically, I review their visual semiotic, cultural significance, such as with the “Doing a Lynndie” meme, which features civilians gesturing in thumbs-up toward a downtrodden individual, copying the same gesture as often used in the images from Abu Ghraib, and the now defunct site “Now That’s Fucked Up,” which briefly allowed soldiers in 2005 to trade gruesome war trophy pictures for pornography. The conclusion reflects on war trophy photography with the topical consideration of drones, ultimately suggesting that drone warfare photos are expressionless because of the overt absence of people.