Faeramar Texts and other dismanttling were used to foreground art ideas and it brought artists directly into the practices of criticism and art history. Setting up reading intentions help you organise your course reading. Canadian Notes Cambridge, MA: The final part of this passage discusses the disdain of the photographer towards her exotic subjects — they are dehumanised and reduced to fetishist objects for contemplation by those in power! These readings coexist, they enhance one another despite their mutual contradiction. Uses of the Document in Contemporary Photographyexh.

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There is the juxtaposition between the globe and the street, the whole and the fragment. There is also the single vertical image in the slide sequence fig.

Shot from behind, as if the subject was unaware he was subject to the camera, this portrait of a portrait doubles the representation of protest again. As was argued in the opening section of this In Focus project, Sekula loops the media. Notes 1. Benjamin H. Take, for example, the inclusion of Fish Story in Documenta 11 See also Maria Lind and Hito Steyerl eds.

Quoted in Martin A. Sekula , p. Berger , pp. Quoted in Johnson , p. It is also worth noting that Moore was subject to violent attacks, and threatened on numerous occasions for his support of the civil rights movement as well as his association with Life. Although rarely discussed, in the South Life was not synonymous with corporate capital; it was wholly left and far too liberal.

See Katherine A. Buchloh and Robert Wilkie eds. Young discusses this pair of photographs as a strike against monumentality. For a comparison of Ruscha, Graham and Sekula around the question of skill and deskilling, see Buchloh , pp.

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Able to continue doing what it does without us thinking too deeply about how we will challenge this or can challenge the established status quo. This separation of petit-bourgeois their desire for upward aspiration causes them to view the working class with disdain and contempt and I would hazard a guess now with our current economic climate even a little bit of fear. However numerous articles and books have been written contesting the concept of a photograph never lies as it is always a socially contested document. The theory of photographic realism emerges historically is both product and handmaiden of positivism.


Allan Sekula

Monday, 1 April My notes on Allan Sekula :Dismantling modernism, reinventing documentary notes on the politics of representation Here are my notes, with quotes, on the allan sekula essay "Dismantling modernism, reinventing documentary notes on the politics of representation " taken from the book " Dismal Science, Photo works ". Although I may not have completely understood everything Sekula has talked about, and I may even be missing the whole point of the essay, there are many sections from it which I have found interesting and useful to a discussion about the progression and state of documentary photography, as well as finding a few interesting pieces of work along the way. Photography, according to this belief, reproduces the visible world: the camera is an engine of fact Sekula also discusses notions of truth and accuracy through the camera. Consider the evidence offered by bank hold up cameras If these cameras have an aesthetic, it is one of raw, technological instrumentality What is it that a photograph points to?..

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