Sensualities, Bodies and Photography
An Approach to Annemarie Heinrich´s Productions
DOI:
https://doi.org/10.24215/24691879e035Keywords:
Annemarie Heinrich, photography, gender perspectiveAbstract
The following article explores Annemarie Heinrich´s fund belonging to the digital Archive from the Institute of Investigation in Art and Culture of the Tres de Febrero National University, taking two digitalizations from the files of exhibitions as the study object. From these two images that portray human figures, we asked ourselves: In which way is the feminine body´s sensuality photographed in Annemarie Heinrich´s productions? How does she take part as a photographer in this field and context?References
Belej, C. y Hrycyk, P. (2018). El archivo fotográfico Heinrich – Sanguinetti: estrategias e interrogantes acerca de la construcción de un archivo a partir de un fondo privado. En M. V. Castro y M. E. Sik (Comps.), Actas de las II Jornadas de discusión. I Congreso Internacional. Los archivos personales: prácticas archivísticas, problemas metodológicos y usos historiográficos (pp. 292-299). Ciudad Autónoma de Buenos Aires, Argentina: CeDInCI.
Chartier, R. (1994). El mundo como representación. En El mundo como representación. Estudios sobre historia cultural (pp. 45-61). Barcelona, España: Gedisa.
Ernst, W. (2004). El archivo como metáfora. Del espacio de archivo al tiempo de archivo. NIMIO. Revista de la Cátedra Teoría de la Historia, (5). Recuperado de http://papelcosido.fba.unlp.edu.ar/ojs/index.php/nimio/ article/view/643/1018
Lupiani Sanz, C. y Novoa Montero, M. (2017). El pictorialismo: el arte de hacer fotografía (Trabajo fin de grado). Recuperado de https://idus.us.es/ bitstream/handle/11441/62839/El%20pictorialismo.%20El%20arte%20 de%20hacer%20fotograf%C3%ADa.pdf?sequence=1&isAllowed=y
Giglietti, N., Leonardi, Y., Sedán, E. y Veneziano, M. (2020). Glosario. La Plata, Argentina: Teoría de la Historia, Facultad de Artes, UNLP.
Nochlin, L. (2007). ¿Por qué no han existido grandes artistas mujeres? En C. Reiman e I. Saenz (Comp.), Crítica feminista en la teoría y la historia del arte (pp. 17-43). Ciudad de México, México: Universidad Iberoamericana.
Pollock, G. (2013). Visión y diferencia. Feminismo, feminidad e historias del arte. Ciudad Autónoma de Buenos Aires, Argentina: Fiordo.
Siracusano, G. (2008). Las entrañas del arte. Un relato material (S. xvii–xix). Ciudad Autónoma de Buenos Aires, Argentina: Fundación OSDE.
Downloads
Published
How to Cite
Issue
Section
License
The acceptance of the manuscript by the magazine means the non-exclusive cession of the property rights of the authors in favour of the editor, who allows the reuse, after publication (post print), under a license Attribution-NonCommercial-NoDerivatives 4.0 International.
According to these terms, the material can be copied and redistributed by any means or in any format as long as a) the author and original source of the publication are quoted (magazine and URL of the work), access to the license is provided and whether changes have been made is mentioned; and b) the material is not used for commercial purposes.
The cession of non-exclusive rights means that after the publication (post print) in Nimio the authors can publish their work in any language, means and format; in such cases it must be mentioned that the material was originally published in this magazine. Such cession also means the authorization of the authors for the work to be collected by SEDICI, the institutional archive of the Universidad Nacional de La Plata, and to be spread in the databases that the editorial team considers appropriate to increase the visibility of the publication and its authors.
Moreover, the magazine encourages the authors to deposit their productions in other institutional and thematic archives under the principle that offering the society the scientific and academic production without any restrictions contributes to a greater exchange of the global knowledge.