Women, Citizenship, Photographies


March 1st, 2021



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Home/Land: Women, Citizenship, Photographies is an extensive compendium of texts and images, combining scholarly, creative and critical writing on photography with new work in photography. The contributions to the compendium range from academic essays on fine art and documentary photographies to photo-essays, community-based and pedagogical photographic projects, personal testimonies, creative writing, activist interventions and accounts of participatory action research using photography.
Home/Land is global in its reach, exploring women’s lives in Britain and other European nations, the United States, Canada, the Middle East, South Africa, Asia and Australia. Bringing together texts and images produced by an international group of feminist scholars, activists, artists and educators, the book demonstrates how women have used photographic practices to find places for themselves as citizens, denizens, exiles or guests, within or beyond the nation as currently conceived, and, in so doing, how they actively produce new and different forms of identity, community and belonging.


'This book emerged from the Lens of Empowerment project, a highly creative and intellectual initiative consisting of an international research network and conference (2009–12). The project’s engagements of “lens-based power” were inspired by photography’s ubiquity and the artistic potential of passport photos, holiday Polaroids, advertising, and documentary film. The authors of Home/Land: Women, Citizenship, Photographies dispel the negative stereotypes ascribed to the figure of globalization by portraying the experiences of women who have confronted the “settled, contested and lost” conditions of home and nation.'
Jane Chin Davidson, College Art Association

'Home/Land: Women, Citizenship, Photographiesinterrogates the ways in which women both use and interpret photography in order to engage with histories, geographies and processes of representation related to home and land, with a particular focus on the concepts of women and citizenship. While the terms home and land are often linked together, their conjunction in the title signifies an increasingly fractured relationship. It is this disjuncture that the book seeks to explore.'
Roberta McGrath, Visual Studies

'Challenging the ‘objective voice of reason’ associated with academic writing, the editors suggest a need for new feminist approaches to lens-based practices on the part of artists and scholars.'
The Burlington

'This volume will prove valuable to anyone engaged with photographies, feminist art histories, South African visual studies, memory studies or issues in the humanities or social sciences of migration and citizenship.'Irene Bronner, De Arte


Author Information

Marion Arnold is Lecturer in Art History and Visual Culture in the School of the Arts, English and Drama at Loughborough University Marsha Meskimmon is Professor of Art History and Theory and Associate Dean, School of the Arts, English and Drama, Loughborough University.

Table of Contents

Section TitlePage
Introduction: Home, Land, Homeland and Home/Land  
Marsha Meskimmon and Marion Arnold 
Section I: Terrain
Chapter 1: Contested Terrains: In Search of a Place Called Home
Berni Searle
Chapter 2: Unsettling: The photographic work of Sue Ford and Anne Ferran  
Helen Ennis
Chapter 3: Embodying Otherness
Karen Frostig    
Chapter 4: Myth, trauma and memory in the Angolan landscapes of Jo Ratcliffe
Liese van der Watt
Chapter 5: The Story of a South African Farm: Vlakplaas photographed by Gillian Edelstein, Jo Ractliffe and Renzske Scholtz
Svea Josephy
Chapter 6: Loughborough International Artists’ Residency: Three responses to place
Jean Brundrit, Sarah Ciurysek, Nina Mangalanayagam
Chapter 7: Conspicuous Consumption: photographs of pleasure and loss, personal and public, in an Australian snowfield
Denise Ferris
Section II: Dwelling
Chapter 8: A place-called-home
Suze Adams
Chapter 9: Be/longing and the suburban dreamscape
Rosy Martin
Chapter 10: Photography, Building and Dwelling: Fiona Tan’s Empty House
Kathryn Brown
Chapter 11: The Archaeological Spaces of Photography: Portrayals of Nineteenth-Century Iranian Women in the Images of Yassaman Ameri
Staci Scheiwiller 
Chapter 12: home. not home. (bayt. laysa bayt.)
Andrea Shaker
Chapter 13
Another Way of Telling: Tracey Derrick’s EarthWorks: The Lives of Farm Labourers in the Swartland
Michael Godby
Chapter 14: Kitchen Accounts
Mo White
Section III: Migrating
Chapter 15: Hélène Amouzou: Citizenship through Photography
Danielle Leenaerts
Chapter 16: Where are you from? A ‘Lost White Tribe’ – the Eurasians of Sri Lanka
Menika v. d. Poorten
Chapter 17: Against erasure: dance-writing with the Russian ballerina Anna Robenne
Astrid von Rosen
Chapter 18: Books on a White Background
Aliza Levi
Chapter 19: There is no place like home. Explorations of a dislocated self and its home in Emily Jacir’s Where We Come From /(Im)mobility
Clara Zarza
Chapter 20: On Reflection: spatial and metaphoric encounters with home and land, here and there, now and then
Marion Arnold
Section IV: Locating
Chapter 21: As a woman, my country is... : On imag(in)ed communities and the heresy of becoming-denizen
Marsha Meskimmon
Chapter 22: Speaking out towards full citizenship: strategies of representing complex lesbian identities through photovoice projects in South Africa
Jean Brundrit
Chapter 23: Women’s Citizenship and Identity in Stó:lō Territory: a collective essay from the University of the Fraser Valley’s Lens Project (British Columbia, Canada)
Stephanie Gould, Jacqueline Nolte, Shirley Hardman, Sarah Ciurysek with Jessica Bennett, Andrea Smith, Jennifer Janik
Chapter 24: Dis-locating the colony: Utopia, dystopia and heterotopia in Svea Josephy’s Twin Towns
Lize van Robbroeck
Chapter 25: Whither the Roots? Photographing the Erased Home
Nicky Bird
Chapter 26: ‘Know me! But, remember that this is only part of who I am’: a participatory photo research project with migrant women sex workers in inner-city Johannesburg, South Africa
Elsa Oliveira and Jo Vearey
Chapter 27: Making Waves on International Women’s Day: Cameroonian Women’s Dynamism
Florence Ayisi
Post-script: Afterword
Home-Land (one hyphenated word as a figure)
Notes on Contributors
List of Illustrations