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090313 class

090313 class

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Published by fmonar01
notes on the class
notes on the class

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Published by: fmonar01 on Sep 10, 2013
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09/10/2013

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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.

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