In lieu of an abstract:In 2018, three anonymous and hitherto unpublished, unexhibited drawings of Istanbul by the same hand, previously part of Dr. Müfid Ekdal’s collection, were donated to the... Show moreIn lieu of an abstract:In 2018, three anonymous and hitherto unpublished, unexhibited drawings of Istanbul by the same hand, previously part of Dr. Müfid Ekdal’s collection, were donated to the Suna and İnan Kıraç Foundation by his son Oral Ekdal, upon Dr. Ekdal’s passing. One of them, a 360-degree, threeand- a-half-meter-long panorama, inspired researchers and curators working at the Istanbul Research Institute and Pera Museum to work on an exhibition on the history of Istanbul panoramas. Four years after preparations began, On the Spot: Panoramic Gaze on Istanbul, a History, curated by Çiğdem Kafescioğlu, K. Mehmet Kentel, and M. Baha Tanman, opened on October 26, 2023, at the Pera Museum, and greets its visitors with the aforementioned panorama. While the exhibition and its accompanying catalog explore various facets of Istanbul’s panoramic imaginaries through the centuries and firmly locate Istanbul as a crucial spot within the global history of panoramas, this short piece aims to briefly introduce these three recent additions to the Suna and İnan Kıraç Foundation collections to the scholarly community. Show less
This thesis engages with the ongoing debate regarding how photographs can contribute to the writing of black South African history. In the field of South African visual history, a... Show more This thesis engages with the ongoing debate regarding how photographs can contribute to the writing of black South African history. In the field of South African visual history, a significant literature explores the “white gaze” that emanates from the administrative and missionary photographic archives of the colonial period. Comparatively fewer studies, however, have addressed how black South Africans pictured themselves, largely due to the presumption that black visual archives are scarce and difficult to access. This thesis draws upon previously unexplored photographic evidence from the mid twentieth century—intimate photographs found in black homes. I argue that these images constitute an alternative archive and original source of history. Such archives present a radically different perspective on black urban communities than that emanating from public photographic collections. Photographic portraiture translates how black South Africans wanted to be seen, according to their own conventions. To study everyday photographic practices is to reflect on the set of values, attitudes and ideas that influenced this exercise of self-representation. This thesis employs a variety of methods and approaches—photo elicitation, identifying patterns in poses and conventions, scrutinizing background details, and locating photographs in today’s landscape—to help unravel the historical relevance of seemingly mundane images. Show less
