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Review: Biopolitical Screens: Image, Power, and the Neoliberal Brain, by Pasi Väliaho

Review: Biopolitical Screens: Image, Power, and the Neoliberal Brain, by Pasi Väliaho Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 prints overtook viewers, allowing for visual immersion and detailed caption shares their names: Sindy Libby Keahbone (Kiowa) and looking. Though Poolaw’s photographs and name may be unfamil- Hannah Keahbone (Kiowa). Based on knowledge of their identities, iar to many readers, museums have displayed Poolaw’s work for Poolaw scholar Laura E. Smith was able to conduct interviews and decades, including multiple exhibitions in Oklahoma and a wide- learn more about the elder Keahbone and her daughter, the “bold ly traveled exhibition that opened at Stanford University in 1989, in and beautiful” Hannah. Given long-standing interest in Poolaw’s which the photographer’s daughter Linda Poolaw played a key role. work and its relative inaccessibility, the photographic reproductions For a Love of His People presents over 130 high-quality reproduc- in For a Love of His People constitute indispensible resources. For tions of Poolaw’s photographs, many appearing in print for the first wide and diverse readerships, from academic researchers to Native time. Preparing the works for publication required assiduous resto- students to general audiences, For a Love of His People contributes ration. The photographer Tom Jones (Ho-Chunk, b. 1964) teamed a much-needed visual account of mid-twentieth century http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Afterimage: The Journal of Media Arts and Cultural Criticism University of California Press

Review: Biopolitical Screens: Image, Power, and the Neoliberal Brain, by Pasi Väliaho

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Publisher
University of California Press
Copyright
© 2015 Afterimage/Visual Studies Workshop, unless otherwise noted. Reprints require written permission and acknowledgement of previous publication in Afterimage.
eISSN
2578-8531
DOI
10.1525/aft.2015.42.6.37
Publisher site
See Article on Publisher Site

Abstract

Downloaded from http://afterimage.ucpress.edu/ on December 5 2019 prints overtook viewers, allowing for visual immersion and detailed caption shares their names: Sindy Libby Keahbone (Kiowa) and looking. Though Poolaw’s photographs and name may be unfamil- Hannah Keahbone (Kiowa). Based on knowledge of their identities, iar to many readers, museums have displayed Poolaw’s work for Poolaw scholar Laura E. Smith was able to conduct interviews and decades, including multiple exhibitions in Oklahoma and a wide- learn more about the elder Keahbone and her daughter, the “bold ly traveled exhibition that opened at Stanford University in 1989, in and beautiful” Hannah. Given long-standing interest in Poolaw’s which the photographer’s daughter Linda Poolaw played a key role. work and its relative inaccessibility, the photographic reproductions For a Love of His People presents over 130 high-quality reproduc- in For a Love of His People constitute indispensible resources. For tions of Poolaw’s photographs, many appearing in print for the first wide and diverse readerships, from academic researchers to Native time. Preparing the works for publication required assiduous resto- students to general audiences, For a Love of His People contributes ration. The photographer Tom Jones (Ho-Chunk, b. 1964) teamed a much-needed visual account of mid-twentieth century

Journal

Afterimage: The Journal of Media Arts and Cultural CriticismUniversity of California Press

Published: May 1, 2015

There are no references for this article.