On this page:
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.
Geoffrey BATCHEN is Professor of Art History at Victoria University of Wellington in New Zealand, specializing in the history of photography. His books include Burning with Desire: The Conception of Photography (1997, with subsequent translations into Spanish, Korean, Japanese, Slovenian, Chinese and Italian), Each Wild Idea: Writing, Photography, History (2001, and in Chinese), Forget Me Not: Photography and Remembrance (2004), William Henry Fox Talbot (2008), What of Shoes?: Van Gogh and Art History (2009, in German and English), Suspending Time: Life, Photography, Death (2010, in Japanese and English), Emanations: The Art of the Cameraless Photograph (2016), and More Wild Ideas (forthcoming in Chinese, 2016). He has also edited Photography Degree Zero: Reflections on Roland Barthes's Camera Lucida (2009) and co-edited Picturing Atrocity: Photography in Crisis (2012).
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.
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 an assistant professor of twentieth century Chinese art and visual culture at University of Toronto. Her works on Chinese photography have appeared in journals including The Art Bulletinand Ars Orientalis. She just finished a manuscript on the ocular turn in modern Chinese art. Her current research projects include photography of China’s 1911 revolution and its sensory regime of violence, 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.
Young June LEE 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.
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).
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 Vantanian) and Japan's Modern Divide: The Photographs of Hiroshi Hamaya and Kansuke Yamamoto (with Judith Keller, Amanda Maddox, and Kotaro IIzawa).
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 photography 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), and Gregoire de Gaulle’s A Summer 78 in Peking (2014). Loh also curated the touring exhibition “Marc Riboud: Retrospective in China” (2010-2013), and is a curatorial advisor at Dali Photography Museum in Yunnan China.
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).
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, and edited the accompanying book.
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 "Between Past and Future: New Photography and Video from China" (2004, co-curated with Wu Hung), "Atta Kim: On-Air" (2006), "Heavy Light: Recent Photography and Video from Japan" (2008), and “Wang Qingsong: When Worlds Collide” (2011). He teaches courses in the history and criticism of photography at Barnard College, New York University, and the ICP/Bard MFA program. He is currently preparing a series of four exhibitions on contemporary Asian photography and video for The Walther Collection, a private art foundation with facilities in New York City and Ulm, Germany.
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 forthcoming journal Southeast of Now: Directions in Contemporary and Modern Art.
Laura WEXLER is Professor of American Studies and Professor of Women’s, Gender, and Sexuality Studies at Yale University, 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.
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.
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 forthcoming book, Zooming In: Histories of Photography in China will be published by Reaktion in 2016.
ZHUANG Wubin is a photographer, educator and writer focusing on photographic practices throughout Southeast Asia. His pioneering book Photography in Southeast Asia was published by the National University of Singapore Press in 2016.
Also at the end of this page, under “Production Team” I noticed that “Doris J. Troy mistakenly appears twice. Can you delete it after “Gabriel Kennedy-Costa”?
And I also just noticed that, in alphabetical the list of editorial board members, both Anthony LEE and Young June LEE are in the wrong places.
Ayelet ZOHAR is a transdisciplinary artist, independent curator and visual culture researcher specializing in photography in Japan. She is a faculty member in the Art History Department at Tel Aviv University, and curator of “Beyond Hiroshima: The Return of the Repressed Wartime Memory, Performativity and the Documentary in Contemporary Japanese Photography and Video Art”, at the Tel Aviv University Art Gallery (2015). Zohar was Guest Editor of Issue 2.1 of the TAP Review, entitled The Elu[va]sive Portrait: In Pursuit of Photographic Portraiture in East Asia and Beyond (Fall 2011).
Zijun GUO, Web Design and Development
|Copyright to the Trans Asia Photography Review (sometimes referred to herein as "Journal") is held by its publisher, Hampshire College, while copyright to individual articles appearing in the Journal remain with the article's author(s), unless otherwise specified. Except as otherwise provided, Hampshire College, and the individual article authors, grant permission for material in this publication to be used in accord with the terms of the Creative Commons Attribution-NonCommercial-NoDerivatives license (CC BY-NC-ND 4.0).
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.