The
Photography
Reader
Edited by
Liz Wells442 DAVID BATE
techno-ideological project of renaissance picturing systems that has governed
Western thought ever since. Perspective remains the arder of Photoshop as much
a it does the camera obscura, discovered so long before photography. Education
then, should retain a critical distance to, and awareness ofthese functions and face
tuations in image culture,
Notes
1 Raymond Willams, The Long Rerlsin, London: Hogarth Press, 1992, p. 125
2 ‘Culture’ for Willis means the ‘whole way of le See his Culare ond Sait,
Penguia, 1979,
3. This Lyotard’ definition of postmodernism in The Psimodern Conlon, Manchester
University Pres, 1986, p, 79
+See Roland Barthes, “That Old Thing, Art..." The Reponailiy of Forms, wanalated
by Richard Howard, University of Califoria Press, 1991
5 Peter Wollen, "Photography and Aesthetic", Seen, vol. 19, no. 4, winter 1978-79,
6 The internal diferences within conceptual art and between artes here les impor
‘ane than their collective distinction from “art photography” and photographer, The
anathema directed towars the ‘Bn printf the former was only equaled by the
hostility to the ‘anu aatheti” by the late.
7 Wictor Burgin (ed) Thinking Photageapby, Macmillan, 1982, p. 2.
8 A.L. Rees and F. Boral, (eds) The Now dre Hutory, Carden Press, 1986
Victor Burgin, The End of de Thos, Macmillan, 1986, p. 204, Author's emphasis,
Paul Virilio, The Lost Denson, Semiotexife, 1991
Walter Benjamin, “The Work of Artin the Age of Mechanical Reproduction’,
‘Miaminations, Fontan, 1980, pp. 227-8,
12 Wollen, ‘Photography and Aesthetics” Seen, vol. 19, no. 4, winter 1978-79, p. 17,
15 Mary Kelly, Re Viewsing Modernist Critic’ An afr Moderim, eB. Walk New
Museum of Contemporary Art, 1984 p. 97
14 Roland Barthes, Le Chamie coe, Paris: Glliard, 1980, p. 98. (My emphasis)
Chapter 42
Allan Sekula
READING AN ARCHIVE
Photography between labour and capital
Every image of the past that is not recognised by the present as one of
its own threatens to disippear irretrievably
‘Walter Benjamin’
‘The invention of photography. For whom? Against whom?
Jean-Lue Godard and Jean-Pierre Gorin?
Fk 8 282 A8ot1 en voor oF ruorocnarns. Allweremade
in the industrial and coal-mining regions of Cape Breton in the ewo decades
between 1948 and 1968. All were made by one man, a commercial photographer
nated Leslie Shedden, At fst glance, the economics ofthis work seem simple and
common enough: proprictor of the biggest and only successful photographic studio
in the town of Glace Bay, Shedden produced pictures on demand for « variety of
clients, Thus in the range of his commissions we discover the limits of economic rely
tions ina coal town, His largest single customer was the coal company. And promt.
rent among the less official customers who walked in the door af Shedden Sardio
were the coal miners and their families, Somewhere in between the company sn
the workers were local shopkeepers who, like Shedden himself, depended on the
Iminers' income for their own livelihood and who saw photography ar a sensible
‘means of local promotion,
‘Why stress these economic realities at the outset, aif to flaunt the ‘crude
thinking’ often called for by Bertolt Brecht? Surely our understandings of these
photographs cannot be reduced to a knowledge of economic conditions, This latter
Knowledge is necessary but insufcient; we also need t0 grasp the way in which
Photography constructs an imaginary world and passes it olf at reality. The ann of
‘his essay, then, isto try to understand something ofthe relationship between photo-
srephic culture and economic lif. How does photography serve to legitimate and
ormallse existing power relationships? How does it serve a the voice of authority,444° ALLAN SEKULA
wile simaltancousl claiming to constitute a token of exchange between equal part-
te! Wat ives nd angry ce me ean of ctype
by photographic means? What resistances are encouraged and strengthened? How
12 Moore pl sacl memory preserved, tataformed, reset an obliterated
by photographs? What futures are promised; what fatures are Forgotten? In the
broadest sense, these questions concern the ways in wich photography constructs
an imaginary economy, From amateralist perspective, thse ae reasonable questions,
well worth parsing, Certainly they would seem to he unavoidable for an archive
such a tis one, assembled in answer to commercial and industrial demands in a
region persitntl suffering from economic troubles.)
Nonetheless, such quentions are easly eclipsed, or simply left unssked. To
understand ths denial of pois, his depoltcation of photographic meaning, we
need to examine some of the underlying problems of photographic culture. Before
wwe can anewer the questions jst posed, we need to briefly consider what a photo-
graphic archive i, and how it might e interpreted, sampled, or reconstructed in
2 Book, The modcl of the archive, of the quantitative ensemble of images, 3 a
powerful one in photographic discourse, This model exerts abasic influence on the
Gharacter ofthe truth and pleasures experienced in looking at photographs, espe
lly today, when photographic books and exhibitions are being assembled from
chives aan unprecedented rate, We might even argue that archival ambitions and
procedures are intrinsic to photographic practice
Morel rtecpotgeeticerive: commerce cies ik Sheds,
corporate archives, government archives, muscum archives, historia society
archives, amateur archives, family archives, artists’ archives, private collector’
drehives and 40 on. Archives ae property ether of individuals or institutions, and
thelr ownership may or may not coincide with authorship. One characteristic of
photography is that authorship of individual mages and the control and ownership
of archives do not commonly reside in the same individual. Photographers are
detail workers when they are not artist or leisure-time amateurs, and thus iis nat
“unreasonable forthe legal theorist Bernard Ellman to label photographers the ‘pro
Jetarian of creation," Leslie Shedden, for his part, was a combination artisan and
small entrepreneur. He contsibated to company aod family archives while retaining
hisown ile of negatives. Aris common with commercial photographers, heinchuded
these negtives ip the sale of his studio to « younger photographer upon retiring
in 1977.
“Archives, then, constitute a tarkory of tage: the unity of an archive I frst and
foremost that imposed by ownership. Whether or not the photographs ina parti
tar archive are offered for sale, the general condition of archives involves the
subordination of use to the logic of exchange. Thus not only are the pictures in
trchives often literal for sale, but their meanings ae up for grabs. New owners
are invited, new interpretations are promised. The purchase of reproduction rights
under copyright law i alo the purchase of a certain semantic cence. This semantic
nuilblity of pictares in archives exhibits the same abstract logic as that which
daracterizes goods in the marketplace.
Ii. an archive, the possibility of meaning is “iberatd” from the actual contin-
encies of we, But this liberation i also alos an abstraction From the complexity
and richness of usc, a loss of context. Thus the specificity of ‘orignal’ uses and
PHOTOGRAPHY BETWEEN LABOUR AND CAPITAL 445
meanings can he avoided and even made invisible, when photographs are sclected
from an archive and reproduced in a book. (In reverse fashion, photographs can he
removed from books and entered into archives, with a similar loss of specificity.)
So new meanings come to supplant old ones, with the archive serving a6 a kind of,
“clearing house” of meaning.
‘Consider this example: some of the photographs in this book were originally
reproduced in the annual report ofthe Dominion Steel and Coal Company, others
were carried in miners’ wallets or framed on the mantelpieces of working-class
homes, Imagine two different gazes, Imagine the gaze ofa stockholder (who may oF
‘may not have ever Visited a coal mine) thumbing his way to the table of earnings and
lingering for a moment on the picture ofa mining machine, presumably the concrete
source ofthe abstract wealth being accounted for in those pages. Imagine the gaze of
a miner, or of a miner’s spouse, child, parent, sibling, lover or fiend drifting to a
portrait during breaks or odd moments during the working day. Most mine workers
‘would agree that the investments behind these looks ~ financial on the one hand,
‘motional on the other ~ are not compatible, But in an archive, the difference, the
radical antagonism betwean these locks is eclipsed, Instead we have two carefully made
‘negatives available for reproduction in a book in which all their similarities and di
ferences could easly be reduced to ‘purely visual concerns. (And even visual differ-
ences ean be homogenired out of existence when negatives fist printed as industrial
losses and others printed on flat paper and tinted by hand are subjected toa uniform
standard of printing for reproduction ina book, Thus the difference between a mode
‘of pictorial address whichis primarily “informational” and one which is ‘sentimental
is obscured.) In this sense, archives establish a relation of absroct viol equivalence
‘between pictures. Within this regime ofthe sovereign image, the underlying currents
of power are hard to detect, except through the shock of montage, when pictures
from antagonistic categories ae juxtaposed in a polemical and disorienting way,
Conventional wisdom would have it that photographs transmit immutable
truths, But although the very notion of photographic reproduction would seem to
suggest that very litle i lost in translation, itis clear that photographic meaning
depends largely on context, Despite the powerful impression of reality (imparted
bby the mechanical registration of a moment of reflected light acording to the rules
‘of normal perspective), photographs, in themselves, are fragmentary and incom:
plete utterances. Meaning is always directed by layout, captions, text, and site and
‘mode of presentation. {...] Thus, since photographic archives tend to suspend
‘meaning and use, within the archive meaning exists in a state that is both residual
and potential. The suggestion of past uses coexists with 2 plenitude of possiblities.
In functional terms, an active archive is lke a toolshed, a dormant archive lke an
abandoned toolshed. (Archives are not like coal mines: meaning is not extracted
from nature, but from culture.)
In terms borrowed from linguistics, the archive constitutes the paradigm or
iconic system from which photographic ‘statements’ are constructed. Archival
potentials change over time; the keys are appropriated by different disciplines,
discourses, ‘specialties.’ For example, the pictures in photo agency files become
available to history when they are no longer useful to topical journalism. Similarly,
the new art history of photography at i too prevalent worst rummages through
archives of every sort in search of masterpieces to celebrate and sell446 ALLAN SeEKULA
Cy actives ae not neutral: they embody the power inherent in cum
oo —————
the Iescon and ls oa language. Within bourgeois slr the poopie
pret lhe ben ented onthe very ening nt sly wi he team
oe, —=—“ ee
ores scoring to nel flere by Hirer, exept, aloe aed
hot grden, sam pole fs, al bak. (Reco. phtogply
rer he mnt wet Soe wi ne
tons) Any erp archive, no mater how sal appease to
tno 9 teddy Ne dye ey bee ae pone ot ne
argh archives re Inked oto eyed tc eter sc A forthe ry
BE llwopicd bare er In an aggre emplicamy bet on acevng
‘ert ventory of opernc. Ara project peal) ran compe
dese or comple afar inan late cerenetnpoed byte he quan
thy of ation In prc, Inowlege of th ert on only be erp
‘cording to borer mene, Thu the ral perpen eer foto
the capa, the poled poke bareate onde egicer not
‘nero the Conner =the wring csr General sealing,
‘orking csc ot ul on meh high ground
Ado arves ae contador in charac, With hl confies meaning
setae rom wey an or ats regenera lel an emit ode ef uh
prema, Paturcrare mardi one way un homoge in ante.
—,r—r—sSseses—
Ikan ode of somesortamengis contents Normal oes ar ce taxon
or dace (xquentay in most arves both method ae we, bu een,
chen alcnatng, eves of erganuaon, Taxonomic order nig be bed en spon
‘orp, authori, gene, tena, seonepopy, mile may nd ony
ee,
precton or ain. Anyone who hese or spl ied trough ox
Fay saps undertanst ems (ad eae tefl) arent
thee protien, One fom Reece nanan and eprom, between
Chronlogy an inventor
‘What ul! be ecg bere ht photographic Dok an xb),
frequen ant hlp bat reprise atienay enero sche, ad
so dsng ipl cm ase nth be autor ade hy wea
terete Herc ice he iin’ ofl plotopply In Fon tote
Chena, Unie» fin, poop bok or exten nal ays be
Shaved back ito la tapneat ar ack the ace, The nse cn
sn eh rs de ih me ee
iy nd» chao gad ei aay ge of photopic
Frente spats ef scletae and mucin ae w vee ol
Tnbl (orconteael to cela town werkng aK a mor cra or
Greve mage). Potdgaper, aie eto ae carer can al cam, when
Challenged sot herpes obe merely peng og eur ele
Som fen seny ea sta far Undeyng the proceso olson
dena amoral epic The photoes reflec relly The archive
sscntel sales te tnoceble of sefctone aso om
PHOTOGRAPHY BETWEEN LABOUR AND CAPITAL 447
Even if one admits ~ as is common enough nowadays ~ that the photograph
inerprets realty, it might stil follow that the archive accurately catalogues the
ensemble of interpretations, and so on again, Songs ofthe innocence of discovery
‘an be sung a any point. Thus the ‘naturalization ofthe cultura,” scea by Roland
Barthes a an essential characteristic of photographic discourse, Is repeated and rein
forced at virtually every level of the cultural apparatus ~ nes it interrupted by
criticism.
Jn shore, photographic archives by their very structure maintain a hidden
connection between knowledge and power. Any discourse that appeals without
scepticism to archival sndards of truth might well be viewed with suspicion, But
‘what narratives and inventories might be constructed, were we to interpret an
archive such as this one in a normal fashion?
{ean imagine two different sorts of books being made from Shedden's photo
_raphs, or for tat matter from any similar archive of functional photographs. On the
‘one hand, we might regard these pictures as ‘historical documents.” We might, on
the other hand, treat these photographs as ‘aesthetic objects" Two more or less con,
tradictory choices emerge. Are these photographs tobe taken asa transparent means
toaknowledge— intimate and detailed even incomplete ~ of industrial Cape Breton
in the postwar decades? Or are we to look at these pictures ‘for their own sake,” as
‘opaque ends-in-themselves? Ths second question has a corollary. Are these pictures
products of an unexpected vernacular authorship: is Leslie Shedden a “discovery”
‘worthy of a minor seat in an expanding pantheon of photographic artists?
‘Consider the first option, From the first decade of this century, popular histo
ries and especially schoolbook histories have increasingly relied on photographic
reproductions, Mass culture and mass education lean heavily on photographic
realism, mixing pedagogy and entertainment in an avalanche of images. ‘The look
of the past can be retrieved, preserved and disseminated in an unprecedented
fashion, But awareness of history as an interpretation of the past succumbs to a faith
In history as representation. The viewer is confronted, not by hisorcl-eing, but by
the appearance of hitoryinef. Photography would seem to gratify the often quoted
desire of that ‘master of moder historical scholarship,” Leopold von Ranke, to
‘show what actualy happened, '* Historical narration becomes a mater of appealing
to the silent authority of the archive, of unobtrusively linking incontestable docu.
‘ments in a seamless account. (The very term ‘document’ entails a notion of legal
or official truth, a6 well as a notion of proximity to and verification of an original
event.) Historical narratives that rely primarily on photography almost invariably
are both positivist and historicist in character, For positivism, the camera provides
‘mechanical and thus ‘sclentifically" objective evidence or ‘data,’ Photographs are
seen as sources of factual, postive knowledge, and thus are appropriate documents
for a history that claims a place among the supposedly objective seiences of human
behaviour. For historciam, the achive confirms the existence of a linear progres.
sion from past to present, and offers the possibility of an easy and unproblematic
retrieval ofthe past from the transcendent position offered by the present. At thir
worst, pictorial histories offer an extraordinarily reductive view of historical
causality: the First World War ‘begins’ with a glimpse of an assusination in
Sarajevo: the entry of the United States into the Second World War ‘begins’ with
«8 view of wrecked battleships,440° ALLAN SEKULA
“Thus, most val and pictorial histories reproduce the enabled pacers of
here drughtn bourgels ele, By doing 10 In "pop fin, they
thtend he hegemony of at eultare, wile exbing athe contempt and
rear or Popa tea. Te ea tht photgrpy lanier langoge
conti peistnt clement of endeacenih t well pedaggil za.
"The widespread ust of potogrpiy a ht Mstetons avg that
sigulint events ae thse which ene petred, and thus tory takes onthe
Rect of pee? But hs petoral spel ea Kind f rer, net depend
Gn por peta for is suppsely ‘rw’ material! Since the 1920 he psu
pres long with Ue apparatus of cororte publ elavon, publi, ner
Teng andgevemment propoganda ave cntuted to replied flow of mags:
of dee, war revolute, new product, celebs, pla eer, ofa
Ceremonic, public appearence, and 0 on, Fora orn to at ach ples
without remarking on these nial we save at bet ad cls wort, What
Mould it mean to construct pictorial isto of postwar cos ining a Cape Breton
Sy sing pictures fom a company public reatone archive without ling tention
10th bs invent in that source? What preset intents ight be served by such
Te Ser of andar por histo ls any ground ae pee fn
which o make ctl evaluations, In retrieving alow acenion of ragmentary
{limps ofthe pst thopectator ifn into condom maginary temporal and
feogaphial moby. inthis docted and doorteted sate the oly coherence
Stored stat proved by the conta sing poston of the camera, which
provides the spectator wit Kind of powerless ermisience. Thus the sector
{omes to Wnty with he techie appara, wih de autora initon of
photography. nthe feet ts uory, al oher forme a lina remembering
Fagin to fd Bt ce machine estes is rth, no by log argument, but by
proving an expe Thi experience characters veers between nol,
Rormor, nd aavriding sense afte ext ofthe pty oft rtierble
Otters forthe viewer the present Ukimatl then, when photographs are
ertelypreemed o histor documents, thy re wsorned nt ext
thjocs. Accordingly, te pretence tokistorical understanding reais atough at
Unrtading has been replaced by sett experience?
‘ut what ‘of eur second option? Suppose we abandoned all pretence to histor
ical eplnaton, and treated thee plotgrapt a artworks of one sort or another
This book would then bean intentory of sete aevement and/or at ering
for antereted ache perusal. The reader may well hve bon prepare fot
these lloos bythe simpl nt tht th book hasbeen bled by press wth
2 history of excuve concer withthe contemporary vanguard art of de United
Sate and Western Europe (ado leer enten, Cada). Further, ae already
Suggested, na more fundamental a the very removal of hese phoogreph ro
‘het inal contents loves neh
Tan imagine two aye of converting hee photographs into ‘works of ar,
both bit abn, but nether without ample precedent inthe caren fever 0 as-
iste photography into the discourse and market of the Se ars The fret ph
flows the tdton! lg of romantic, in ncn search fr exec
origin ins coberem and corivaling author woe.” The second pth might be
PHOTOGRAPHY BETWEEN LABOUR AND CAPITAL 449
labelled ‘post-romantic’ and privileges the subjectivity ofthe collector, connoisseur,
and viewer over that of any specific author. This latter mode of reception treats
photographs as found objects.” Both strategies can be found in current photographic
dliscourse; often they are intertwined in a single book, exhibition, magszine or
journal article, The former tends to predominate, largely because ofthe continuing
‘need to validate photography asa fine art, which requires an incessant appeal to the
‘myth of authorship in order to wrest photography away from its reputation a8 a
servile and mechanical medium. Photography needs to be won and rewon repeat
‘edly for the ideology of romanticism to take hold,"
The very fact that this book reproduces photographs by a single author might
seem to bean implicit concession to a neo-romantic auteurnm, But it would be difi-
cult to make a credible argument for Shedclen’s autonomy asa maker of photographs.
Like all commercial photographers, his work involved a negotiation between his oven
craft and the demands and expectations of his clients, Further, the presentation of
his work was entirely beyond his control. One might hypothetically argue that
‘Shedden was 2 hidden artist, producing an original oeuvre under unfavourable condi-
tions. (‘Originality’ isthe essential qualifying condition of genuine art under the
terms dictated by romanticism. To the extent that photography was regarded as a
copyist’s medium by romanticartcrtisin the nineteenth century, it failed to achieve
the status ofthe fine arts.) The problem with auteurism, as with so much else i pho
tographic discourse, les in its frequent misunderstanding of actual photographic
practice, In the wish-fuliling isolation of the ‘author,’ one loses sight of the social
institutions ~ corporation, school, family ~ that are speaking by means of the com
‘mercial photographer's craft. One can sill respect the craft work of the photog-
rapher, the skill inherent in work within a set of formal conventions and economic
constraints, while refusing to indulge in romantic hyperbole.
‘The possible ‘post romantic’ or ‘post-modern’ reeeption of these photographs
Js perhaps even more disturbing and more likely, To the extent that photography
still occupies an uncertain and problematic postion within the fine arts, it becomes
possible to displace subjectivity, to find refined aesthetic sensibility notin the maker
of images, but in the viewer. Photographs such as these then become the objects of
a secondary voyeurism, which preys upon, and claims superiority to, a mare naive
primary act of looking. The strategy here is akin to that initiated and established by
Pop Art in the early nineteen-sixties, The aesthetically informed viewer examines
the artifacts of mass or ‘popular’ culture with a detached, ironic, and even con-
‘temptuous air. For Pop Art and its derivatives, the look of the sophistiated viewer
is always constructed in relation to the inferior look which preceded it. What dis:
turbs me about this mode of reception is its covert clit, its implicit claim to the
status of ‘superior’ spectatorship. A patronizing, touristic, and mock-critical attitude
toward ‘kitsch’ serves to authenticate a high culture that is increasingly indistin-
{gulshable from mass culture in many ofits aspects, especially in its dependence on
‘marketing and publicity and its fascination with stardom, The possibility ofthis kind
of intellectual and aesthetic arrogance needs to be avoided, especially when a book
‘of photographs by a small-town commercial photographer is published by a press that
‘regularly represents the culture of an international and metropolitan avant-garde
In general, then, the hidden imperatives of photographie culture drag usin two
contradictory directions: toward ‘science’ and a myth of ‘objective truth’ on the450. ALLAN SEKULA
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eames eae eeeanee ace
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eee ee
a mab ete a ete che wa Rae
eh re a See repre seca
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Socieecn
TA cat i Wn
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as eae eas
a ee pe
rs see eo
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see ceed ogee ieee
a ee eee
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eT een fee oe
PHOTOGRAPHY BETWEEN LABOUR AND CAPITAL 451
family photograph, And yet it would scem clear that these are not mutually exch:
sive categories. Industrial photographs may well be commissioned, executed, dis.
played, and viewed in a spirit of calculation and rationality. Such pictures seem to
offer unambiguous truths, the usful truths of applied science, Buta zone of virtu.
ally unacknowledged ofits can also be reached by photographs such as these, touch.
ing on an aesthetics of power, mastery, and control. The public optim that vuffases
these pictures is merely a respectable, sentimentally-oceptable, and ideologically nee-
essary substitute For deeper feelings ~ the cloak for anaesthetics of exploitation, In
‘other words, even the blandest pronouncement in words and pictures from an office
of corporate public relations has a subtext marked by threats and fear. (After all,
“under capitalism everyone's jb ison the line.) Similarly, no family photograph suc.
«ceeds in creating a haven of pure sentiment. Ths i especially true for people wha
feel the persistent pressure of economic distress and for whom even the making of
«photograph has tobe carefully counted as an expense, Granted, there are moments
in which the photograph overcomes separation and Joss, therein lies much of the
emotional power of photography. Especially in a mining community, the life of
‘the emotions is persistently tied to the instrumental workings underground. More
than elsewhere, a photograph can become without warning a tragic memento
‘One aim of this essay, then, is to provide certain conceptual tools for a unified
Understanding of the social workings of photography in an industrial environment,
‘This project might take heed of some of Walter Benjamin’s last advice, from hic
argument for a historical materialist alternative 10 a historicism that inevitably
cempathized ‘with the victors’:
‘There is no document of civilization which is not at the same time a
document of barbarism. And just as such a document is not free of
barbarism, barbarism taints alo the manner in which i was transmitted
from one ovwner to another. A historical materialist therefore disso
ates himself from it as far as possible. He regards i a his tack to brush
history against the grain,!?
Benjamin's wording here is careful. Neither the contents, nor the forms, nor the
‘many receptions and interpretations of the archive of humnan achievements ean be
assumed to be innocent. And further, even the concept of “human achievements!
has to be used with critical emphasis in an age of automation. The archive has to
be read from below, from a position of solidarity with those displaced, deformed,
silenced or made invisible by the machineries of profit and progres.
Notes
1 Walter Benjamin, “Theses oo the Philosophy of History” (1940), in lemintion,e
Hannah Arend, trans. Harry Zohn (New York, 1969), p.255.
Jean-Luc Godard and Jean-Pierre Gorin, Yene Es (Rome, Paris, Berlin, 1969), ln
Script published in Jean-Luc Godard, Weeleod/ Wind fiom the Est (New York, 1972),
17,
Fb epee in cology i erfore not the ptm of the red relations
Which govern the existence of individuals, but the imaginary relation of these
2452
10
ALLAN SEKULA
Individuals to the veal relations its which they live.” Louis Althusser, ‘Kdeology and
Ideological State Apparstuss’ (1969), in Lenin and Philo ond Orker Ey, trans
Ben Brewster (New York, 1971), p. 165. Althusser's model of ideology i based in
parton Marx and in part on the work ofthe psychoanalyst Jaques Lacan, Without
belabouring this lineage, of explaining i further, I would like to refer dhe Canadian
reader expecially toa work by Lacan's fst English ansator and crtal interpreter
‘Anthony Willen; The Imaginary Canadian: dn Examination for Discovery (Vancouver.
1980)
Bernard Edelman, Le Droit sat par la phaogrphic Pars, 1973), rans. Elizabeth
Kingdom. Owacrhip of the lege: Eleeot for ¢ Mort Thay of Law (Londen. 1979),
pas
Roland Barthes, ‘Rhétorique de Vimage,” Communications 4 (1964). in Image, Musi
Tea, trans, Stephen Heath New York. 1977), pt
Leopold von Ranke, preface to Hisorer of the Lain and Germanic Navon from
1494-1514, in The Yori of Hato, ed, Frite Stern (New York, 1972), p57
See Guy Debord, a Sad dv spc (Pari, 1967), unauthorized translation, Socyy
ofthe Speaacte Detroit, 1970, revised edition, 1977.
‘We might think ere of the reliance hy the executive branch ofthe United States
{government on “photo opportunities," For a dacusion af an unrelated example see
Susan Sontay's discon of Lent Rifenstal' alibi that Temp ofthe Wall was merely
‘an innocent documentary of the orchertrated-fr-cinema 1934 Nuremberg Rally of
the National Scilists. Sontag quotes Ricfensabl “Everything i genuine. Je
hisory~ pure hur.” Susan Sontag, “Fascinating Fascism," New York Review of Boks,
Vol. XXil, No. 1 February 1975), reprinted in Under the Sia of Sarum, (New York
1980). p82,
“Two recent books counter this prevailing tendency in "vital history” by directing
attention to the power relationships behind the making of pictares: C. Herron, 5.
Hollnite, W. Roberts, R, Storey, All The Our Hands Hore Done Prot Hioy ef
‘he Horan Werks (Oskalle, Ontario, 1981): and rah Graham-Brown Paleintane
and Ther Seciety 1880-1946 (London, 1980),
Jn the first category are books which discover unsung commercial photographers:
ge, Mike Dislarmer, Disfrmer: The Heber Springs Porc, text by Julia Selly
(Danbury. New Hampshire, 1976), ln the second category are books which tery
tothe aesthetic sense ofthe collector; eg. Sun Wage, A Bok of Phitgrph fom
the Collation of Sara Wapitlf (New York, 1978),
“This passage restates an argument made in my essay, “The Traffic in Photographs! The
Ant Journal, Vol. 41, No. I Spring 1981, pp.15-!
Walter Benjamin, "Theses on the Philosophy of History,’ pp.256-57.
Index
abstract seeing 93
sxademic spectator 369-71
access, consent and 254, 275-87
Adams, A. 176, 28, 31-2
Adamson, R138
Adas, M. 367,
‘Adobe Photoshop 225
advertisements 109, 160-1, 210-11, 245,
311-12; rhetoric of the image 11425
aesthetic moment 211-15, 267-8
aMleevity 211-15
Aca 313, 314
Agee, J. 268-9
agency, abandonment of 186
sgony, photographs of 254, 288-90
Alesander, V. 155, 160, 11-2, 163,
182
Alinder, MS. 232
Alles, N.W.219
Allende, S, 315, 319
Allouls, M. 370
Alloway, L, 102
Altamira 67-8
‘aks 393
Aman, R, 222
Alvarado, M364
Americ if 175-6
America Online 230,
American Civil War 70, 100,
Amos, E394
snamnesis 27-8
anchorage 117-18,
Andrew, D. 6-7
‘Anglo-American formalism 83
anonymity of phowgrapher 71-4
‘ppropriation 152-5, 171-3
Arbiter Fotographe’ 191
Abus, D. 264, 270, 437
auchitectare 165,
archives: digital 229-34; industrial,
environment 420, 443-52
Armheim, R. 219
Amoux, A. 8
arrangement 5, 172
arresting images 289
at 70-1, 89; conceptual are 437;
Institutions 419, 422-7, mechanical
reproduction and 15, 42-52;
photographs as ator technology 55-7;
photographs ofan industrial envionment
4448-50; photography ae meta-att 62,
photography as new instrument of ikon
94-5; postmodernlemn in 166-70,
177-8, 188-9; revolutionary at 56-7,
82-3; scence vs 50-1, 224-5, 450,
thoory, photography and 20, 435-42
art photography 32, 77-8, 103, 173;
evelopment of 436-17; mature and sell
4411; and postmodernism 149, 152-63;
and realty 315-16