P. 1
090313 class

090313 class

|Views: 0|Likes:
Published by fmonar01
notes on the class
notes on the class

More info:

Published by: fmonar01 on Sep 10, 2013
Copyright:Attribution Non-commercial


Read on Scribd mobile: iPhone, iPad and Android.
download as DOCX, PDF, TXT or read online from Scribd
See more
See less





Collaboration September 4, 2013 We will question what is collaboration in different layers In the last decade myriad terms became

omnipresent (participation, collaboration, etc.)  But collaboration cannot start with these new events  The word has different meanings and it has always been around o In Israel and in France “collaboration” is a negative term The term “collaboration” is problematic  But there is a possibility to expand the term o By exploring different facets of it  When it is declared  When it is denied Photography implies collaboration  When we speak of it (photography, art) we speak of the intention of it o Art: artist going “far away” to collaborate with others  But collaboration is there in so many other facets of our lives o We need to deconstruct and reconstruct it Collaboration also the framework of the class  We will ultimately get a timeline of collaboration (juxtapose different projects) o Think about projects in continuity (create an archive) o Timeline not in a chronological sense  Polemicize it o We will become the curators of this project  Last class: New York trip to Aperture Susan Meiselas’ Nicaraguan project is not only of its time (parasyntatic element)  The notion of timeline is challenging We can’t talk about collaboration in photography without holding one in our hands Photographs  Japan 2011 tsunami photograph restoration project  This is an event deployed in a community  We see the labor of a community to restore the pictures o Unclaimed: the project can’t be reduced to a photographer (there is no sovereign position) o The photo albums are not made to be looked at; they are open in a particular way (in order to eliminate humidity and restore what’s in them); quantity is important: this implies a collective and community; they are not in good shape  Yamada, NE Coast, Japan,“All Hands Volunteers” o Rescue photos for the second time (restoration)

development. market that privileged master photographers) .   The project does not seek to document the catastrophe  The introduction of a different frame of time into the event of photography o We will not create a community where the event was initiated o This shows the materiality of photography before the photographer  Shows instead an engaged multiplicity of people  Previously: the history of photography as the history of photographers  At the expense of materiality (of event. dissemination. India  Work in 1970s (along with Susan Meiselas): Why in the attempt to initiate collaborative projects were they not accepted? o Look at ideology o Against what were they initiating these projects? (e.g. etc. 1842 o Interior of first professional photographic portrait studio o “Magic date” of photography is in the 1930s (this is false)  Photography is known for eliminating the labor of photography  Dwelling on technical details is important if we want to explore the idea of collaboration Ariella’s work: sub-reign studies  As opposed to sovereign studies (what we study in many disciplines)  Potential history: in order to account for sub-reign history o We will not create a timeline of photographers (turning point of master’s position) Photo: 1860s album of amateur photographers (no “authors”) from Mt Savage Maryland (Jack and Beverley archive)  Look at photography not from the point of view of the photographer o Look at even from outside this viewpoint Photo: Wendy Ewald.) of photography o A different understanding of time of photography  Not indexical capture of one instant in time Child standing up needs help o Why focus on hands?  Collaboration on many levels  We need to open gestures  Read photo as stillframe from film (event of photography)  In our work we need to reconstruct the event of photography 1893 Berlin: An adjustable clamp to hold the head steady during the long exposure o The end of the 19th century: we see materiality/apparatus that produces the event of photography o The time of exposure as part of the apparatus that participates in the production of photos Daguerreotype studio (woodcut). George Cruickshank. 1989 Vichua.

o Through this we can understand the field of photography Political ontology week: what is co-citizenship Look up references (projects) mentioned in texts. but collaboration instead . don’t rely solely on the former Next week: the question of art and photography Question of problematizing history: revive moments unacknowledged of collaboration Non-authorship: not author being eliminated.

You're Reading a Free Preview

/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->