Allan Sekula was an American photographer, writer, filmmaker and critic and I remember seeing his work at the Prix Pictet Exhibition (Theme of. Sekula, A. () The body and the archive, in Bolton, R. (ed.) The contest of meaning: critical histories of photography, Cambridge: MIT Press. The main. Transcript. Allan Sekula: The Body and the Archive. ” photography is not the harbinger of modernity, for the world is already modernizing.
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Bertillon and Galton, represented two attempts to regulate social deviance by means of photography. That applied to the world around us is what I do with the camera, what I want to see done with the camera. You are commenting using your Twitter account.
Allan Sekula “The Body and the Archive” (1986)
Later photographers had utilised this approach e. The contest of meaning: Nancy Burson, Mankind Oriental, Caucasian, and Black, weighted according to current population statistics— Others, that opposed the archival paradigm were Augene Atgetwho photographed like the police daily life crime scenes but to show the squalid conditions people lived in, and Walker Evans American, —that developed work in dialogue with police uses of photography see the Subway photographs but opposed the bureaucratic structure of the photo archive with a more poetic approach see the American Photos.
Leave a Reply Cancel reply Enter your comment here In some respects it reminded me of the s Monty Python Sketch as seen here. Eugene Atget, Ragpicker Walker Evans, New York [Subway Passengers, New York], Others, that opposed the archival paradigm were Augene Atgetwho photographed like the police daily life crime scenes but to show the squalid conditions people lived in, and Walker Evans American, —that developed work in dialogue with police uses of photography see the Subway photographs but opposed the bureaucratic structure of the photo archive with a more poetic approach see the American Photos Nancy Burson, Mankind Oriental, Caucasian, and Black, weighted according to current population statistics—85 Martha Rosler, Vital Statistics of a Citizen, Simply Obtained, color videotape, 40 minutes.
Galton on the other hand, develop the method of composite portraiture, which consisted in combine through repeated limited exposure working with the negatives in a specially prepared apparatus the faces of a number of individuals sharing similar characteristics criminality, illness, race, etcin order to arrive at the average type. Historical in approach, there is a political flavour from the beginning.
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Allan Sekula “The Body and the Archive” () |
You are commenting using your Twitter account. Seeing a photograph on front of The Times newspaper that is used to draw attention to an article on Jewish women, I see not merely the look of the woman whom I am asked to consider as Jewish but the artificiality of the context, the idea amd there is such a thing as a typical Tbe woman. Leave a Reply Cancel reply Enter your comment here It was aimed not only to make a recognisable record of criminals but also to try and determine what the criminal type might be.
Amongst the modernists, he mentions August Sanders author of the book: By continuing to use this website, you agree to their use. In the end of the essay, Sekula pushes his argument further to place current photographers practices within this tradition, distinguishing between photographers that embrace the archival paradigm and those obdy oppose it.
Evans is referring to his work having been in an Exhibition. The Museum is a very influential place.
You are commenting using your Facebook account. To find out more, including how to control cookies, see here: This site uses Akismet to reduce spam. Bertillon developed a nominalist system of identification, which included anthopometry,a system of recognition based on body measurements of 11 body areasalongside photography front and profile and textual description of distinguishink body marks ; and to deal with the enormous amount of data thusobtained from the populationinvented as well the first rigorous system of archival cataloguing and retrieval of photographs.
For Sekula, the archival paradigm provides an instrumental realism to photography, that operates according to a specific repressive logic, of which the criminal identification photographs provide the clearest illustration, with their only purpose which is to facilitate the arrest of their referent.
These two attitudes are identified by Sekula in documentary photographers, in their photographic relation to realism. Pages a unit guide about learning resources Alan Sekula: In spite of his inability to identity a recognisable criminal type, Galton attempted to distance photography from its indexical relationship with the real, elevating it to the order of the symbolic, more than a trace of the individual to get to the generalised order of the abstraction.
The Body and the Archive by Allan Sekula | Progressing With Digital Photography
Hence, the work of two leading figures in this field is considered, the Frenchman Alphonse Bertillon and the Englishman Francis Galton. The main discussion points are: Hte 19th century Phrenology chart. Nancy Burson who has produced many computerized composites. There was obviously more than one interview in where Evans discussed his view as ASX reproduce another interview here.
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But the style of detachment and record is another matter. Although that is important to any artist.