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photograph
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Image
Published: 01 November 2021
Figure 4 Love and Ammunition II (2016). Oil on gesso panel, 48 × 36 in. Photograph by Jeanette May. Courtesy of the artist.
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Published: 01 March 2022
Figure 3 “From beige to bold,” posted by Gosia Syta on LinkedIn. Photograph courtesy Carolyn Gindein IWOM001 Photography.
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Image
Published: 01 March 2008
Figure 1 Karen Finley, untitled from Condoleeza Rice series, 2006 (photograph courtesy of Karen Finley).
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Image
Published: 01 March 2008
Figure 2 Robert Longo, untitled (Saturn), 2006 (photograph courtesy of Robert Longo and Metro Pictures).
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Published: 01 March 2008
Figure 3 Geoff McGann, Goddess , 2006 (photograph courtesy of Geoff McGann)..
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Published: 01 March 2008
Figure 4 Geoff McGann, untitled set shot, 2006 (photograph courtesy of Geoff McGann).
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Published: 01 March 2008
Figure 5 William Wylie, Carrara , 2006 (photograph courtesy of William Wylie)..
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Published: 01 March 2010
David Levine: HOPEFUL , installation view. Photograph: Claire Laude, Galerie Feinkost, Berlin.
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Published: 01 November 2009
Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York.
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Published: 01 November 2009
Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York.
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Image
Published: 01 November 2009
Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York.
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Image
Published: 01 November 2009
Photograph courtesy of Paul Chan, Creative Time and Green Naftali Gallery, New York.
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Image
in in/Visibility and the Securitization of Migration: Shaping Publics through Border Enforcement on Islands
> Cultural Politics
Published: 01 July 2015
Figure 3 Boat cemetery on Lampedusa, 2010. Photograph: Alison Mountz
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in “Even the Rats Don't Come Here”: The Eastern European Roma in Contemporary Paris
> Cultural Politics
Published: 01 March 2013
Figure 1 Banlieue ruin. Photograph by author
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in “Even the Rats Don't Come Here”: The Eastern European Roma in Contemporary Paris
> Cultural Politics
Published: 01 March 2013
Figure 2 Squatter camp. Photograph by author
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in “Even the Rats Don't Come Here”: The Eastern European Roma in Contemporary Paris
> Cultural Politics
Published: 01 March 2013
Figure 3 Brasov. Photograph by author
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in “Even the Rats Don't Come Here”: The Eastern European Roma in Contemporary Paris
> Cultural Politics
Published: 01 March 2013
Figure 4 Rats. Photograph by author
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in “Even the Rats Don't Come Here”: The Eastern European Roma in Contemporary Paris
> Cultural Politics
Published: 01 March 2013
Figure 5 Even the rats don't come here. Photograph by author
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in Communicating Graphically: Mimesis, Visual Language, and Commodification as Culture
> Cultural Politics
Published: 01 March 2017
Figure 6 The iconic photograph of “Tank Man” by Associated Press photographer Jeff Widener (as well as Charles Cole and Stuart Franklin) is recognizable worldwide as a courageous act of bravery and revolution. It appears here is self-censored form. Attributed to Weibo
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Published: 01 November 2013
Figure 7 The international container terminal in Vallarpadam in Kochi. Photograph courtesy of the author 2012
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