Read the essay ‘Archive Noises’ in Fontcuberta, J. (2014) Pandora’s Camera – Photogr@phy after Photography, London: MACK, provided with your course materials.
Project 1: The Artist as Curator
Archive Noises
Joan Fontcuberta discusses "Archive Noises" in his 2014 book Pandora's Camera. Fontcuberta's notion is that archives, mainly photographic archives, are not passive collections of images but active and complex systems that generate various disruptions or "noises."
These "noises" are disruptions within the archival space that can arise from multiple sources. Archive creators or custodians can intentionally introduce them to convey specific messages or narratives. For example, photographs can be edited, staged, or manipulated to create a specific impression or evoke particular emotions. Similarly, archives may also contain intentional gaps or omissions that shape the narratives constructed from them.
On the other hand, "archive noises" can also be unintentional, stemming from factors such as technical errors, decay, or misinterpretations. These unintended disruptions challenge the idea of archives as objective and infallible repositories of historical truth. Instead, they highlight the subjectivity and constructed nature of archival materials.
Fontcuberta's exploration of "archive noises" invites readers to adopt a critical perspective when engaging with archives. He encourages questioning the authenticity, context, and underlying narratives embedded within archival materials. By recognizing and analyzing these disruptions, individuals can uncover hidden meanings, power dynamics, and ideological influences that shape our understanding of the past.
In essence, "Archive Noises" in Fontcuberta's work calls to approach archives with scepticism and curiosity, acknowledging their complexities and the multiple layers of meaning they encompass.
Project 2: The Artist as Archivist
Read Allan Sekula’s essay ‘The Body and the Archive’ in Bolton, R. (ed.) (1992) The Contest of Meaning: Critical Histories of Photography, Cambridge, MA: MIT Press, pp.343–89. You’ll find this on the student website (PH5DIC_ The Contest and Meaning_The Body and the Archive).
Also read:
Tim Clark’s interview with Erik Kessels on the vanishing photo album: Link 4
‘Archive Fever: Photography between History and the Monument’ by Okwui Enwezor: Link 5
Allan Sekula
Allan Sekula's essay "The Body and the Archive" in "The Contest of Meaning: Critical Histories of Photography," edited by Richard Bolton in 1992, explores the relationship between photography, the human body, and the archive concept. Here is a summary of critical points from Sekula's essay:
Body as a Historical Document:
Sekula argues that the human body can be seen as a historical document carrying traces of social and cultural contexts. He discusses how photography captures these traces, making the body a historical and cultural significance site.
Photography and Power Dynamics:
Sekula examines the power dynamics involved in photographing bodies, especially in the context of colonialism, surveillance, and medical documentation. He highlights how photography has been used as a tool of control and domination over bodies.
Archive and Memory:
The essay delves into the role of archives in preserving and shaping collective memory. Sekula discusses how photographic archives construct narratives and ideologies, influencing our understanding of history and identity.Interpretation and Context: Sekula emphasizes the importance of interpreting photographs within their specific historical, social, and political contexts. He critiques the tendency to view photographs as neutral or objective representations, advocating for a more critical approach to analysing images.
Body Politics:
Throughout the essay, Sekula engages with the politics of the body, addressing issues such as gender, race, class, and sexuality. He argues that photography reflects and contributes to shaping societal norms and power structures related to the body.
Conclusion:
Overall, Sekula's essay in "The Contest of Meaning" thoughtfully explores how photography intersects with the body, the archive, and broader cultural discourses, inviting readers to reconsider how images shape our understanding of the world.
Tim Clark / Eric Kessels
Tim Clark's interview with Erik Kessels on the vanishing photo album is a fascinating exploration of how photography and memory intersect in the digital age. Kessels' perspective on the decline of physical photo albums and the shift towards digital formats raises essential questions about preserving the meaning of our personal histories.
Kessels' observation that people are taking more photos than ever before but are also losing the tangible connection to these images is thought-provoking. The ease of digital photography has transformed how we capture and share moments. Yet, it has also led to an overwhelming volume of images that often remain buried in digital archives.
The conversation highlights the significance of physical photo albums as repositories of memories and narratives. Albums are tangible artefacts documenting our lives and providing a curated storytelling experience. Kessels emphasizes the emotional resonance of physical photographs, and flipping through an album evokes a sense of nostalgia and intimacy that digital platforms may struggle to replicate.
Overall, Tim Clark's interview with Erik Kessels offers valuable insights into the evolving nature of photography and its impact on our relationship with memory and documentation. It prompts us to reconsider how we preserve and engage with our visual narratives in an increasingly digital world.
Okwui Enzwezor
"Archive Fever: Photography between History and the Monument" by Okwui Enwezor is a significant exploration of the intersection between photography, history, and memory. Enwezor delves into how photographs serve as repositories of historical information and how they shape our understanding of the past.
One of the book's key themes is the idea of the archive as a dynamic and contested space where different narratives and interpretations of history converge. Enwezor critically examines the role of photography in constructing and deconstructing historical narratives, highlighting the power dynamics involved in the process.
The book also discusses the concept of monuments and how photography creates collective memory and cultural identity. Enwezor's analysis encourages readers to reconsider how we engage with visual representations of history and the complexities inherent in interpreting archival materials.
Overall, "Archive Fever" offers valuable insights into the multifaceted relationship between photography, history, and memory, making it a significant contribution to visual studies and cultural criticism.
Project 3: The Digital Photo Album
Read the essay ‘Fugitive Identities’ in Fontcuberta, J. (2012) Pandora’s Camera. Watch Norwegian artist Vibeke Tandberg’s experimental self-portraiture employing
photomontage techniques at Link 9
Joan Fontcuberta
"Fugitive Identities" is a book by Joan Fontcuberta, a renowned Spanish conceptual artist, photographer, and writer. The book delves into the complex interplay between reality and fiction in the realm of photography and identity. Fontcuberta challenges traditional notions of photography as a medium for capturing objective truth by exploring how manipulating images is staged and used to construct alternate realities.
The central theme of "Fugitive Identities" revolves around identity as a fluid and elusive concept. Fontcuberta explores how photographs can create false identities, question established narratives, and blur the boundaries between fact and fiction. He employs various artistic techniques, such as digital manipulation, staged scenes, and fictional narratives, to illustrate the malleability of identity in the digital age.
Through a series of thought-provoking essays and visually captivating images, Fontcuberta invites readers to reconsider their perceptions of truth, authenticity, and representation in photography. He challenges them to question the credibility of photographic evidence and recognise images' power in shaping our understanding of the world.
Conclusion:
"Fugitive Identities" is a compelling exploration of contemporary photography's identity, reality, and perception complexities. It offers insights into the transformative potential of visual storytelling and the role of artists in challenging established norms and conventions.
Vibeke Tandberg
Vibeke Tandberg is a Norwegian artist known for her innovative approach to self-portraiture, often blurring the lines between reality and fiction. Her work challenges traditional notions of identity, gender, and representation, making her a significant figure in contemporary art.
Tandberg's self-portraits are characterized by their playful yet critical exploration of the self. She often incorporates humour, irony, and absurdity elements into her images, inviting viewers to question societal norms and expectations. Through various mediums, such as photography, video, and installation, she creates thought-provoking narratives that delve into the complexities of human existence.
One of Tandberg's notable series is "Self-Portraits," where she stages herself in surreal and whimsical scenarios, manipulating her appearance and surroundings to challenge conventional ideas of beauty and identity. This series highlights her skill in using visual storytelling to convey more profound messages about self-perception and societal pressures.
Conclusion:
Vibeke Tandberg's self-portraiture is both visually captivating and intellectually stimulating. Her ability to blend artistic techniques with profound conceptual exploration makes her work a compelling and significant contribution to the contemporary art landscape.
Read ‘New Media and Vernacular Photography: Revisiting Flickr’ by Susan Murray in Lister, M. (ed.) (2013) The Photographic Image in Digital Culture, Abingdon: Routledge (pp.165–82), which is provided with your course materials.
Also read:
• David Chandler’s essay on Mishka Henner’s Dutch Landscapes at Link 10
• ‘When is a cliché not a cliché? Reconsidering Mass-Produced Sunsets’ by Annebella Pollen
at Link 11
Susan Murray
"New Media and Vernacular Photography: Revisiting Flickr" by Susan Murray is a scholarly work that examines the role of Flickr, a popular photo-sharing platform, in the context of new media and vernacular photography. The book delves into how Flickr has revolutionized how individuals engage with and share photographs, leading to the emergence of new practices and communities within amateur photography.
Murray's analysis focuses on several key themes:
Participatory Culture:
The book explores how Flickr has facilitated a participatory culture where users actively contribute content, comment on each other's work, and form communities based on shared interests and photography styles.
Digital Vernacular:
Murray discusses the concept of digital vernacular photography, highlighting how Flickr has enabled users to create and share images that reflect their everyday experiences, personal narratives, and cultural identities.
Social Networking: The book emphasizes Flickr's social networking aspect, emphasizing how the platform has served as a repository for images and a space for social interaction, collaboration, and the formation of virtual communities.
Visual Communication:
Murray analyses how Flickr's features, such as tags, comments, and groups, have transformed how people communicate visually, encouraging dialogue and engagement around photographs.
Conclusion:
"New Media and Vernacular Photography: Revisiting Flickr" comprehensively examines Flickr's impact on contemporary photography practices, digital culture, and social interaction within online communities
David Chandler
David Chandler's essay on Mishka Henner's Dutch Landscapes discusses Henner's unique approach in his photographic series. Chandler highlights Henner's use of satellite imagery and digital manipulation to create landscapes almost artificial and devoid of human presence. The essay observes the tension between the aesthetic beauty of the images and the underlying environmental concerns they raise, such as intensive farming practices and the impact of human activity on the landscape. Chandler also examines how Henner's work challenges traditional notions of landscape photography and raises questions about our perception of nature in the digital age.
Annebella Pollen
"When is a cliché, not a cliché? Reconsidering Mass-Produced Sunsets" is an essay by Annebella Pollen that explores the clichés in photography, specifically focusing on mass-produced sunset images. Pollen argues that these images may initially appear clichéd due to their ubiquity and stereotypical nature, but they hold more profound cultural and emotional significance.
Pollen suggests that mass-produced sunset images serve as visual cues for emotions such as tranquillity, nostalgia, and hope. They explore the universal human experiences and evoke a sense of shared understanding and connection. Pollen also highlights the role of technology in the mass production and dissemination of these images, noting how digital platforms like social media have amplified their reach and impact.
Pollen encourages readers to reconsider their preconceived notions about clichés, urging them to look beyond surface-level judgments and engage with the deeper meanings and cultural contexts embedded in these seemingly familiar images. She argues that clichés can be meaningful and powerful tools for communication and expression, challenging the notion that originality is the only measure of artistic value.
Overall, Pollen's essay invites readers to reflect on the complexities of visual culture, the significance of clichés, and how mass-produced imagery shapes our perceptions and experiences of the world.
References:
Комментарии