If gentrification is a violent form of “un-homing” (Elliot-Cooper et al., p. 494), then it is no surprise to witness an intensification of photographic practice in gentrifying areas; photography is, after all, fundamentally a place-making practice. Taking “home” to include the wider neighborhood and urban environment (Blunt and Sheringham 2019), this paper argues that the concept of anticipatory nostalgia is a useful way of understanding the recent wave of black and white photography in gentrifying areas. As well as signifying a sense of loss, anticipatory nostalgia, defined as missing the present before it has gone (Batcho and Shikh 2016), can also be seen as an aesthetic strategy of documenting places before they are lost to gentrification. Using the works of Colby Deal (Beautiful, Still), Jules Renault (Suspended in Time), and Lorenzo Grifantini (W10) as case studies, this paper argues that this type of photography, which explicitly utilizes an archival aesthetic, invites spectators to interrogate the intimate ties between home, memory, and identity. While melancholic, these images serve as a call to action and a form of speculation about the future—rejecting the shiny, computer-generated aesthetics of gentrification for a humanized, often gritty, and authentic version of home.

中文翻译：

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怀念当下：绅士化摄影中的怀旧与档案冲动

如果绅士化是一种暴力形式的“离家”（Elliot-Cooper 等人，第 494 页），那么在绅士化地区见证摄影实践的强化就不足为奇了；毕竟，摄影从根本上说是一种营造场所的实践。本文将“家”包括更广泛的社区和城市环境（Blunt 和 Sheringham，2019 年），认为预期怀旧的概念是理解最近高档化地区黑白摄影浪潮的一种有用方式。除了表示一种失落感，预期的怀旧被定义为在它消失之前错过它（Batcho 和 Shikh 2016），也可以被视为一种美学策略，在它们因高档化而消失之前记录地方。使用 Colby Deal (Beautiful, Still)、Jules Renault (Suspended in Time) 的作品，和 Lorenzo Grifantini (W10) 作为案例研究，本文认为，这种明确利用档案美学的摄影类型，邀请观众审视家庭、记忆和身份之间的亲密联系。虽然忧郁，但这些图像可以作为行动的号召和对未来的一种推测形式——拒绝闪亮的、计算机生成的绅士化美学，转而追求人性化、坚韧不拔、真实的家。