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What is the TAP Review?
The Trans-Asia Photography Review is an international refereed journal (ISSN: 2158-2025) devoted to the discussion of historic and contemporary photography from Asia. Online and free of charge, it is published by Hampshire College in collaboration with the Michigan Publishing, a division of the University of Michigan Library. Two issues are published annually, in the fall and spring. Readers can join our email list to be notified additionally about special events pertaining to photography in Asia.
The study of photography from Asia is a field that is still in its early stages, and we aim to encourage quality, depth and breadth in its development. The TAP Review brings together the perspectives of curators, historians, photographers, anthropologists, art historians and others in an effort to investigate photography from Asia as fully as possible.
The TAP Review is a central location in cyberspace where readers from anywhere can go - to read about previously unknown histories of photography, to engage with new ways of thinking about past and present photographic work, to see photographs that otherwise would be unavailable to them, and to learn about relevant books, archives and symposia.
We welcome proposals for articles, book reviews and curatorial projects, and are open to other suggestions, in keeping with our goal of promoting the fullest possible understanding of photography from Asia. Submission guidelines can be found under the "Participate" heading at the top of our website. The editor can be contacted at firstname.lastname@example.org.
|Who We Are||
Sandra MATTHEWS is a photographic artist and Associate Professor Emerita at Hampshire College. Her active interest in photography from Asia began in 1980 when she had the opportunity to research photographic work made in Hong Kong and China.
Rahaab ALLANA is Curator of the Alkazi Foundation for the Arts. He is a Fellow of the Royal Asiatic Society in London, and author of Inherited Spaces, Inhabited Places (a volume on World Heritage Sites/2005), among other publications. Allana is the founding and current editor of India’s first photography quarterly, PIX.
Geoffrey BATCHEN teaches art history at Victoria University of Wellington in New Zealand. His books on photography include Burning with Desire: The Conception of Photography (1997, with subsequent translations into Spanish, Korean, Japanese, Slovenian, Italian and Chinese); Each Wild Idea: Writing, Photography, History (2001 and in Chinese); Forget Me Not: Photography and Remembrance (2004); William Henry Fox Talbot (2008); Suspending Time: Life, Photography, Death (2010, in Japanese and English); Emanations: The Art of the Cameraless Photograph (2016); Obraz a diseminace: Za novou historii pro fotografii (2016, in Czech); and 更多的疯狂念头 [More Wild Ideas: History, Photography, Writing] (2017, in Chinese).
Ali BEHDAD is John Charles Hillis Professor of Literature at the University of California, Los Angeles. His writings on photography include Photography’s Orientalism: New Essays on Colonial Representation (co-edited with Luke Gartlan, Getty Publications, 2013) and Camera Orientalis: Reflections on Photography of the Middle East (University of Chicago Press, 2016).
Michael CHEN is a photographer who has worked as Galleries Director at the Hong Kong Art Centre (1983-88) and as an art consultant in Taiwan (1989-2007). His photographic work has been widely shown throughout Asia. He is at present working as an Art Advisor to SUNPRIDE Foundation, which is co-presenter of the first LGBTQ themed exhibition in Asia, at MOCA Taipei, September 2017.
Deepali DEWAN is Senior Curator in the Department of World Cultures at the Royal Ontario Museum and Associate Professor in the Department of Art at the University of Toronto. She is the author of Embellished Reality: Indian Painted Photographs (2012) and co-author (with Deborah Hutton) of Raja Deen Dayal: Artist-Photographer in 19th-century India (2013).
Sabeena GADIHOKE is Associate Professor of Video and Television Production at the AJK Mass Communication Research Centre at Jamia University in New Delhi. She is also an independent documentary filmmaker and curator. Her book on India’s first woman press photographer, Camera Chronicles of Homai Vyarawalla (Mapin/ Parzor) was published in 2006. Her current research interests focus on documentary, popular cinema and photo histories of the early decades after Indian independence.
Yi GU is Associate Professor of twentieth century Chinese art and visual culture at the University of Toronto. Her works on Chinese photography have appeared in journals including The Art Bulletin and Ars Orientalis. Her book on the ocular turn in modern Chinese art is forthcoming from Harvard University Press. Current research projects include cold war visuality and cultural exchanges within the socialist bloc, alternative archives, and digital humanities. Yi Gu was guest editor, with Claire Roberts, of Issue 6.1 of the TAP Review, entitled Composite Realities: The Art of Photographic Manipulation in Asia (Fall 2015).
GU Zheng is a photography critic and curator based in Shanghai, where he is Professor in the School of Journalism and Vice-director of the Research Center for Visual Culture at Fudan University. He has published many books in Chinese on contemporary photography and photographic history, and has curated numerous exhibitions of Chinese photography in China and abroad.
KANEKO Ryuichi is Guest Curator at the Tokyo Metropolitan of Photography. He has written widely on Japanese photography, and his most recent books in English are Japanese Photobooks of the 1960's and 70's( with Ivan Vartanian) and Japan's Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto (with Judith Keller, Amanda Maddox, and Kotaro IIzawa).
Anthony LEE is Idella Plimpton Kendall Professor of Art History at Mount Holyoke College. He is founder and series editor for “Defining Moments in American Photography”, published by the University of California Press, and has written several books on the photography of Chinatowns and Chinese migrants. Lee was Guest Editor of Issue 5.1 of the TAP Review, entitled Photography and Diaspora (Fall 2014).
LEE Young June teaches contemporary art at Kaywon University of Art. He observes and analyzes the structure and meaning of diverse machines used in our daily lives in order to find the hidden meaning in them. Recent publications include Pegasus 10000 Miles, a book about a journey on board a containership, and Machine Flaneur, a collection of essays on machines. Recently he organized an exhibition entitled “Space Life: Images from the NASA archives” at the Ilmin Museum of Art in Seoul.
Jean LOH is an independent photography curator and critic based in Shanghai, where he is founder and director of Beaugeste Gallery. He has edited numerous photo books including Yan Changiang’s Papermen (2009), Zhe Chen’s Bees (2011), Bruno Barbey’s China in Kodachrome (2012), Li Zhensheng’s Winds and Clouds (2012), Gerard Rancinan’s China 83: Out of the Blocks (2014), and Eric Mannaerts’ Jazz en Coulisses (2017). He is a curatorial advisor for the Dali Photography Museum in Yunnan China, and a regular contributor to the Eye of Photography.com.
Jamie MAXTONE-GRAHAM is a photographer and filmmaker based in Hanoi. His works have been exhibited in throughout SE Asia and Europe and have been published in Photography and Culture, the Asian American Literary Review and the TAP Review. He administers theTrans Asia Photography Review's social media Facebook page.
Young Min MOON is an artist, critic, and Professor in the Department of Art at University of Massachusetts, Amherst. His work has been exhibited in the U.S., Canada, France, and South Korea. He has published numerous essays on contemporary Korean art, and was Guest Editor of Issue 3.1 of the TAP Review, entitled “The Aftereffects of War in Asia: Histories, Pictures and Anxieties” (Fall 2012).
Samuel MORSE is Howard M. and Martha P. Mitchell Professor, Art and the History of Art and Asian Languages and Civilizations at Amherst College. A prolific writer on Japanese art, Morse curated, in 2012, the exhibition "Reinventing Tokyo: Japan's Largest City in the Artistic Imagination" at the Mead Art Museum. In 2015 he curated “Dislocation/ Urban Experience: Contemporary Photographs from East Asia” at the Smith College Museum of Art, and in 2016 curated the companion exhibition “Dislocation/ Negotiating Identity: Contemporary Photographs from Southeast Asia”.
Gael NEWTON is a curator, consultant and valuer for Asia-Pacific photography, specializing in Southeast Asian 19th - mid 20th century photo history. She retired as Senior Curator, Photography, National Gallery of Australia in late 2014.
David ODO is Director of Student Programs and Research Curator of University Collections Initiatives at the Harvard Art Museums. His most recent publication is The Journey of “A Good Type”: from artistry to ethnography in early Japanese photographs (Peabody Museum Press/Harvard University, 2015). He is currently preparing a monograph about photography and colonial history in Japan’s Ogasawara Islands.
Christopher PHILLIPS is an independent curator and scholar living in New York City. From 2000 to 2016 he was a curator at the International Center of Photography, where he organized a number of exhibitions exploring contemporary Asian photography. Among these were
Thy PHU is an Associate Professor at Western University (Ontario). She is the author of Picturing Model Citizens: Civility in Asian American Visual Culture and co-editor, with Elspeth Brown, of Feeling Photography. She is presently completing a second book, Warring Visions, which provides a new visual history of the war in Vietnam by focusing on the works of Vietnamese photographers. She is also one of the founders of the Family Camera Network, a collaborative effort to collect and preserve family photos and stories about them.
Christopher PINNEY is Professor of Anthropology and Visual Culture at University College, London. His books on photography include Artisan Camera: Studio Photography from Central India (Tara Books, 2013), Photography and Anthropology (Reaktion 2011), The Coming of Photography in India (British Library, 2008), Photography’s Other Histories (co-edited with Nicholas Peterson, Duke University Press, 2003), and the seminal Camera Indica:The Social Life of Indian Photographs (Reaktion, 1997).
Abby ROBINSON is a photographer and writer whose photographic work has been published in The New Yorker, The New York Times, ARTnews, and numerous other publications; her articles have been published in the New York Times, Asian Art News, and Photo District News. She edits the Focal Point section of the TAP Review.
Claire M ROBERTS is an Australian Research Council Future Fellow in the School of Culture and Communication at the University of Melbourne and Associate Professor of Art History. Her most recent book is Photography and China (2013). Roberts was guest editor, with Yi Gu, of Issue 6.1 of the TAP Review, entitled Composite Realities: The Art of Photographic Manipulation in Asia (Fall 2015).
Ajay SINHA is Professor of Art History at Mt. Holyoke College, where he teaches courses on Indian photography and film. He has authored Imagining Architects: Creativity in Indian Temple Architecture (2000), and edited, with Raminder Kaur, Bollyworld: Popular Indian Cinema through a Transnational Lens (2005).
Alexander SUPARTONO is an Indonesian photography historian, curator and lecturer in the Department of Photography at the Edinburgh Napier University, Scotland. His recent curatorial works include Making Oneself: Postcolonial Photo Studio (Noorderlicht, 2015), Afterimage: Contemporary Photography in Southeast Asia (Singapore Art Museum, 2014) and the Singapore International Photography Festival 2014.
VUTH Lyno is an artist, curator, and Artistic Director of Sa Sa Art Projects, Phnom Penh’s only experimental artist-run space. He is one of the founders of the journal Southeast of Now: Directions in Contemporary and Modern Art in Asia, published by the National University of Singapore Press.
Laura WEXLER is Professor of American Studies, Professor of Women’s, Gender, and Sexuality Studies at Yale University, and Professor of Film and Media Studies, where she is also Co-chair of the Program in Public Humanities and Principal Investigator of the Photogrammar Project. She works on Chinese family photograph albums.
WU Hung is Harrie A. Vanderstappen Distinguished Service Professor of Art History, East Asian Languages and Civilizations; Director, Center for the Art of East Asia; and Consulting Curator, Smart Museum of Art, at the University of Chicago. His books on Chinese photography include Between Past and Future: New Chinese Photography and Video (co-authored with Christopher Phillips), Rong Rong’s East Village, and Zooming In: Histories of Photography in China.
Yao WU is Jane Chace Carroll Curator of Asian Art at Smith College. She works on visual culture in modern and contemporary Asia, and her current research interest focuses on art academies in twentieth-century China.
ZHUANG Wubin is a writer, educator and artist focusing on photographic practices throughout Southeast Asia. His book Photography in Southeast Asia: A Survey was published by the National University of Singapore Press in 2016.
Ayelet ZOHAR is a transdisciplinary artist and Associate Professor in the Art History Department, Tel Aviv University. Zohar specializes in the study of contemporary photography in Japan, and published on the topic in central journals in the field, including positions: asia critique, Theory, Culture and Society, as well as the Trans Asia Photography Review. Zohar’s current research focuses on postmemory and war imagery representations in contemporary Japanese video art, and she is also engaged with a research on innovative and experimental photography during the Meiji era in Japan (1868-1911). Zohar was Guest Editor of Issue 2.1 of Trans Asia Photography Review, entitled The Elu[va]sive Portrait: In Pursuit of Photographic Portraiture in East Asia and Beyond (Fall 2011), and currently she is editing a special issue of Review of Japanese Culture and Society (2019), dedicated to Japanese photography in the Heisei Era (post-1989).
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The Trans Asia Photography Review is an open access journal, which means that all content is freely available without charge to the user or his/her institution. Users are allowed to read, download, copy, distribute, print, search, or link to the full texts of the articles, or use them for any other lawful non-commercial purpose, without asking prior permission from the publisher or the author, as long as they give appropriate credit. This is in accordance with the BOAI definition of open access.Note: Neither the editors nor members of the editorial board assume responsibility for the views of individual contributors as expressed in articles, reviews, curatorial projects or any other contributions published in the TransAsia Photography Review.