Abstract:This article explores how art photographers have used return as a practice and an aesthetic to think about the meaning of southern history. In particular, it focuses on the use of return in work made by Emmet Gowin, William Christenberry, and Sally Mann in the last four decades of the twentieth century. In the photographs examined here, these artists render the forms of history visible by returning to photograph the same place, people, or subjects at different times. They restage old images or revisit places photographed by others. They employ old photographic processes, formats, and materials. And they consciously go back to former histories, to older Souths and to the relationships people have constructed with these pasts. In their work, return as a practice, a process, a subject, and an aesthetic structures time and, in this way, marks and makes history. How we understand and give form and meaning to change over time becomes as much the subject of this work as what exists on the other side of the lens.

中文翻译：

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回归的迹象：作为美国南部历史的摄影

摘要：本文探讨了艺术摄影师如何以回归作为一种实践和一种审美来思考南方历史的意义。特别是，它侧重于在 20 世纪最后 40 年由 Emmet Gowin、William Christenberry 和 Sally Mann 创作的作品中使用回报。在这里考察的照片中，这些艺术家通过在不同时间返回拍摄相同的地方、人物或主题，使历史的形式变得可见。他们重新拍摄旧图像或重访他人拍摄的地方。他们采用旧的摄影工艺、格式和材料。他们有意识地回到过去的历史、古老的南方以及人们与这些过去建立的关系。在他们的作品中，回归作为一种实践、一个过程、一个主题和一种审美结构时间，并以这种方式，标记并创造历史。我们如何理解并赋予形式和意义随着时间的推移而改变，这与镜头另一侧存在的内容一样成为这项工作的主题。