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| ariella azoulay the civil contract of photography: The Civil Contract of Photography Ariella Azoulay, 2021-09-14 In this groundbreaking work, Ariella Azoulay thoroughly revises our understanding of the ethical status of photography. It must, she insists, be understood in its inseparability from the many catastrophes of recent history. She argues that photography is a particular set of relations between individuals and the powers that govern them and, at the same time, a form of relations among equals that constrains that power. Anyone, even a stateless person, who addresses others through photographs or occupies the position of a photograph’s addressee, is or can become a member of the citizenry of photography. The crucial arguments of the book concern two groups that have been rendered invisible by their state of exception: the Palestinian noncitizens of Israel and women in Western societies. Azoulay’s leading question is: Under what legal, political, or cultural conditions does it become possible to see and show disaster that befalls those with flawed citizenship in a state of exception? The Civil Contract of Photography is an essential work for anyone seeking to understand the disasters of recent history and the consequences of how they and their victims are represented. |
| ariella azoulay the civil contract of photography: Potential History Ariella Aïsha Azoulay, 2019-11-19 A passionately urgent call for all of us to unlearn imperialism and repair the violent world we share, from one of our most compelling political theorists In this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasized the possibility of progress while it tries to destroy what came before, and voraciously seeks out the new by sealing the past away in dusty archival boxes and the glass vitrines of museums. By practicing what she calls potential history, Azoulay argues that we can still refuse the original imperial violence that shattered communities, lives, and worlds, from native peoples in the Americas at the moment of conquest to the Congo ruled by Belgium's brutal King Léopold II, from dispossessed Palestinians in 1948 to displaced refugees in our own day. In Potential History, Azoulay travels alongside historical companions—an old Palestinian man who refused to leave his village in 1948, an anonymous woman in war-ravaged Berlin, looted objects and documents torn from their worlds and now housed in archives and museums—to chart the ways imperialism has sought to order time, space, and politics. Rather than looking for a new future, Azoulay calls upon us to rewind history and unlearn our imperial rights, to continue to refuse imperial violence by making present what was invented as “past” and making the repair of torn worlds the substance of politics. |
| ariella azoulay the civil contract of photography: The One-State Condition Ariella Azoulay, Adi Ophir, 2012-11-28 Since the start of the occupation of Palestinian territories in 1967, Israel's domination of the Palestinians has deprived an entire population of any political status or protection. But even decades on, most people speak of this rule—both in everyday political discussion and in legal and academic debates—as temporary, as a state of affairs incidental and external to the Israeli regime. In The One-State Condition, Ariella Azoulay and Adi Ophir directly challenge this belief. Looking closely at the history and contemporary formation of the ruling apparatus—the technologies and operations of the Israeli army, the General Security Services, and the legal system imposed in the Occupied Territories—Azoulay and Ophir outline the one-state condition of Israel/Palestine: the grounding principle of Israeli governance is the perpetuation of differential rule over populations of differing status. Israeli citizenship is shaped through the active denial of Palestinian citizenship and civil rights. Though many Israelis, on both political right and left, agree that the occupation constitutes a problem for Israeli democracy, few ultimately admit that Israel is no democracy or question the very structure of the Israeli regime itself. Too frequently ignored are the lasting effects of the deceptive denial of the events of 1948 and 1967, and the ways in which the resulting occupation has reinforced the sweeping militarization and recent racialization of Israeli society. Azoulay and Ophir show that acknowledgment of the one-state condition is not only a prerequisite for considering a one- or two-state solution; it is a prerequisite for advancing new ideas to move beyond the trap of this false dilemma. |
| ariella azoulay the civil contract of photography: Death's Showcase Ariella Azoulay, 2001 An interdisciplinary exploration of the visual presence of death in contemporary culture. |
| ariella azoulay the civil contract of photography: From Palestine to Israel Ariella Azoulay, 2011-11-15 In this carefully curated and beautifully presented photobook, Ariella Azoulay offers a new perspective on four crucial years in the history of Palestine/Israel.The book reconstructs the processes by which the Palestinian majority in Mandatory Palestine became a minority in Israel, while the Jewish minority established a new political entity in which it became a majority ruling a minority Palestinian population. By analyzing more than 200 photographs from that period, most of which were previously confined to Israeli state archives, Azoulay recounts the events and the stories that for years have been ignored or only partially acknowledged in Israel and the West. Including substantial analytical text, this book will give activists, scholars, and journalists a new perspective on the origins of the Palestine-Israel conflict. |
| ariella azoulay the civil contract of photography: Aïm Deüelle Lüski and Horizontal Photography Ariella Azoulay, 2014-01-07 This book is the product of a unique collaboration between Israeli artist and philosopher Aïm Deüelle Lüski and visual culture theorist Ariella Azoulay. In their longstanding working relationship, they research how to theorize the structure of the contemporary scopic regime and open a space for its civil transformation. |
| ariella azoulay the civil contract of photography: Different Ways Not to Say Deportation Ariella Azoulay, 2012 This volume is a collection of drawings and captions for unshowable photographs taken in Palestine in 1947-50, gathered from the International Committee of the Red Cross archives in Geneva by the well-known author and cultural critic Ariella Azoulay, author of The Political Ontology of Photography and The Civil Contract of Photography. |
| ariella azoulay the civil contract of photography: The Cruel Radiance Susie Linfield, 2012-04-15 Susie Linfield addresses the issue of whether photographs depicting past scenes of violence & cruelty are voyeuristic, arguing that if we do not look & understand that we are seeing at people, rather than depersonalised acts of inhumanity, our hopes of curbing political violence today are probably limited. |
| ariella azoulay the civil contract of photography: A Camera in the Garden of Eden Kevin Coleman, 2016-02-23 In the early twentieth century, the Boston-based United Fruit Company controlled the production, distribution, and marketing of bananas, the most widely consumed fresh fruit in North America. So great was the company’s power that it challenged the sovereignty of the Latin American and Caribbean countries in which it operated, giving rise to the notion of company-dominated “banana republics.” In A Camera in the Garden of Eden, Kevin Coleman argues that the “banana republic” was an imperial constellation of images and practices that was checked and contested by ordinary Central Americans. Drawing on a trove of images from four enormous visual archives and a wealth of internal company memos, literary works, immigration records, and declassified US government telegrams, Coleman explores how banana plantation workers, women, and peasants used photography to forge new ways of being while also visually asserting their rights as citizens. He tells a dramatic story of the founding of the Honduran town of El Progreso, where the United Fruit Company had one of its main divisional offices, the rise of the company now known as Chiquita, and a sixty-nine day strike in which banana workers declared their independence from neocolonial domination. In telling this story, Coleman develops a new set of conceptual tools and methods for using images to open up fresh understandings of the past, offering a model that is applicable far beyond this pathfinding study. |
| ariella azoulay the civil contract of photography: Believing Is Seeing Errol Morris, 2014-05-27 Academy Award–winning director Errol Morris turns his eye to the nature of truth in photography In his inimitable style, Errol Morris untangles the mysteries behind an eclectic range of documentary photographs. With his keen sense of irony, skepticism, and humor, Morris shows how photographs can obscure as much as they reveal, and how what we see is often determined by our beliefs. Each essay in this book is part detective story, part philosophical meditation, presenting readers with a conundrum, and investigates the relationship between photographs and the real world they supposedly record. Believing Is Seeing is a highly original exploration of photography and perception, from one of America’s most provocative observers. |
| ariella azoulay the civil contract of photography: The Disciplinary Frame John Tagg, 2009 How do photographs gain their meaning and power? John Tagg claims that, to answer this question, we must look at the ways in which everything that frames photography - the discourse that surrounds it and the institutions that circulate it - determines what counts as truth. |
| ariella azoulay the civil contract of photography: Regarding the Pain of Others Susan Sontag, 2013-10-01 A brilliant, clear-eyed consideration of the visual representation of violence in our culture--its ubiquity, meanings, and effects. Considered one of the greatest critics of her generation, Susan Sontag followed up her monumental On Photography with an extended study of human violence, reflecting on a question first posed by Virginia Woolf in Three Guineas: How in your opinion are we to prevent war? For a long time some people believed that if the horror could be made vivid enough, most people would finally take in the outrageousness, the insanity of war. One of the distinguishing features of modern life is that it supplies countless opportunities for regarding (at a distance, through the medium of photography) horrors taking place throughout the world. But are viewers inured—or incited—to violence by the depiction of cruelty? Is the viewer’s perception of reality eroded by the daily barrage of such images? What does it mean to care about the sufferings of others far away? First published more than twenty years after her now classic book On Photography, which changed how we understand the very condition of being modern, Regarding the Pain of Others challenges our thinking not only about the uses and means of images, but about how war itself is waged (and understood) in our time, the limits of sympathy, and the obligations of conscience. |
| ariella azoulay the civil contract of photography: The Burden of Representation John Tagg, 1993 Photographs are used as documents, evidence, and records every day in courtrooms, hospitals, and police work, on passports, permits, and licenses. But how did such usages come to be established and accepted, and when? What kinds of photographs were seen seen as purely instrumental and able to function in this way? What sorts of agencies and institutions had the power to give them this status? And more generally, what conception of photographic representation did this involve, and what were its consequences? |
| ariella azoulay the civil contract of photography: The Photos of the Century Marie-Monique Robin, 1999 |
| ariella azoulay the civil contract of photography: Photography's Other Histories Christopher Pinney, Nicolas Peterson, 2003-04-24 Richly illustrated with over 100 images, this volume explores the role of photography in raising historical consciousness from a variety of geographic, cultural, and historical perspectives. 128 photos. |
| ariella azoulay the civil contract of photography: Human Rights In Camera Sharon Sliwinski, 2011-10-03 From the fundamental rights proclaimed in the American and French declarations of independence to the 1948 Universal Declaration of Human Rights and Hannah Arendt’s furious critiques, the definition of what it means to be human has been hotly debated. But the history of human rights—and their abuses—is also a richly illustrated one. Following this picture trail, Human Rights In Camera takes an innovative approach by examining the visual images that have accompanied human rights struggles and the passionate responses people have had to them. Sharon Sliwinski considers a series of historical events, including the 1755 Lisbon earthquake and the Holocaust, to illustrate that universal human rights have come to be imagined through aesthetic experience. The circulation of images of distant events, she argues, forms a virtual community between spectators and generates a sense of shared humanity. Joining a growing body of scholarship about the cultural forces at work in the construction of human rights, Human Rights In Camera is a novel take on this potent political ideal. |
| ariella azoulay the civil contract of photography: Listening to Images Tina M. Campt, 2017-03-09 In Listening to Images Tina M. Campt explores a way of listening closely to photography, engaging with lost archives of historically dismissed photographs of black subjects taken throughout the black diaspora. Engaging with photographs through sound, Campt looks beyond what one usually sees and attunes her senses to the other affective frequencies through which these photographs register. She hears in these photos—which range from late nineteenth-century ethnographic photographs of rural African women and photographs taken in an early twentieth-century Cape Town prison to postwar passport photographs in Birmingham, England and 1960s mug shots of the Freedom Riders—a quiet intensity and quotidian practices of refusal. Originally intended to dehumanize, police, and restrict their subjects, these photographs convey the softly buzzing tension of colonialism, the low hum of resistance and subversion, and the anticipation and performance of a future that has yet to happen. Engaging with discourses of fugitivity, black futurity, and black feminist theory, Campt takes these tools of colonialism and repurposes them, hearing and sharing their moments of refusal, rupture, and imagination. |
| ariella azoulay the civil contract of photography: The Culture of the Copy Hillel Schwartz, 2014-11-02 A novel attempt to make sense of our preoccupation with copies of all kinds—from counterfeits to instant replay, from parrots to photocopies. The Culture of the Copy is a novel attempt to make sense of the Western fascination with replicas, duplicates, and twins. In a work that is breathtaking in its synthetic and critical achievements, Hillel Schwartz charts the repercussions of our entanglement with copies of all kinds, whose presence alternately sustains and overwhelms us. This updated edition takes notice of recent shifts in thought with regard to such issues as biological cloning, conjoined twins, copyright, digital reproduction, and multiple personality disorder. At once abbreviated and refined, it will be of interest to anyone concerned with problems of authenticity, identity, and originality. Through intriguing, and at times humorous, historical analysis and case studies in contemporary culture, Schwartz investigates a stunning array of simulacra: counterfeits, decoys, mannequins, and portraits; ditto marks, genetic cloning, war games, and camouflage; instant replays, digital imaging, parrots, and photocopies; wax museums, apes, and art forgeries—not to mention the very notion of the Real McCoy. Working through a range of theories on biological, mechanical, and electronic reproduction, Schwartz questions the modern esteem for authenticity and uniqueness. The Culture of the Copy shows how the ethical dilemmas central to so many fields of endeavor have become inseparable from our pursuit of copies—of the natural world, of our own creations, indeed of our very selves. The book is an innovative blend of microsociology, cultural history, and philosophical reflection, of interest to anyone concerned with problems of authenticity, identity, and originality. Praise for the first edition “[T]he author... brings his considerable synthetic powers to bear on our uneasy preoccupation with doubles, likenesses, facsimiles, replicas and re-enactments. I doubt that these cultural phenomena have ever been more comprehensively or more creatively chronicled.... [A] book that gets you to see the world anew, again.” —The New York Times “A sprightly and disconcerting piece of cultural history” —Terence Hawkes, London Review of Books “In The Culture of the Copy, [Schwartz] has written the perfect book: original and repetitive at once.” —Todd Gitlin, Los Angeles Times Book Review |
| ariella azoulay the civil contract of photography: Feeling Photography Elspeth H. Brown, Thy Phu, 2014-09-09 This innovative collection demonstrates the profound effects of feeling on our experiences and understanding of photography. It includes essays on the tactile nature of photos, the relation of photography to sentiment and intimacy, and the ways that affect pervades the photographic archive. Concerns associated with the affective turn—intimacy, alterity, and ephemerality, as well as queerness, modernity, and loss—run through the essays. At the same time, the contributions are informed by developments in critical race theory, postcolonial studies, and feminist theory. As the contributors bring affect theory to bear on photography, some interpret the work of contemporary artists, such as Catherine Opie, Tammy Rae Carland, Christian Boltanski, Marcelo Brodsky, Zoe Leonard, and Rea Tajiri. Others look back, whether to the work of the American Pictorialist F. Holland Day or to the discontent masked by the smiles of black families posing for cartes de visite in a Kodak marketing campaign. With more than sixty photographs, including twenty in color, this collection changes how we see, think about, and feel photography, past and present. Contributors. Elizabeth Abel, Elspeth H. Brown, Kimberly Juanita Brown, Lisa Cartwright, Lily Cho, Ann Cvetkovich, David L. Eng, Marianne Hirsch, Thy Phu, Christopher Pinney, Marlis Schweitzer, Dana Seitler, Tanya Sheehan, Shawn Michelle Smith, Leo Spitzer, Diana Taylor |
| ariella azoulay the civil contract of photography: Classic Essays on Photography Alan Trachtenberg, 1980 Containing 30 essays that embody the history of photography, this collection includes contributions from Niepce, Daguerre, Fox, Talbot, Poe, Emerson, Hine, Stieglitz, and Weston, among others. |
| ariella azoulay the civil contract of photography: Why Photography Matters as Art as Never Before Michael Fried, 2008 From the late 1970s onward, serious art photography began to be made at large scale and for the wall. Michael Fried argues that this immediately compelled photographers to grapple with issues centering on the relationship between the photograph and the viewer standing before it that until then had been the province only of painting. Fried further demonstrates that certain philosophically deep problems—associated with notions of theatricality, literalness, and objecthood, and touching on the role of original intention in artistic production, first discussed in his controversial essay “Art and Objecthood” (1967)—have come to the fore once again in recent photography. This means that the photographic “ghetto” no longer exists; instead photography is at the cutting edge of contemporary art as never before. Among the photographers and video-makers whose work receives serious attention in this powerfully argued book are Jeff Wall, Hiroshi Sugimoto, Cindy Sherman, Thomas Struth, Thomas Ruff, Andreas Gursky, Luc Delahaye, Rineke Dijkstra, Patrick Faigenbaum, Roland Fischer, Thomas Demand, Candida Höfer, Beat Streuli, Philip-Lorca diCorcia, Douglas Gordon and Philippe Parreno, James Welling, and Bernd and Hilla Becher. Future discussions of the new art photography will have no choice but to take a stand for or against Fried’s conclusions. |
| ariella azoulay the civil contract of photography: Berlin nach 45 Michael Schmidt, Janos Frecot, 2005 Schmidt's work has always focused on his hometown of Berlin and the book format has always been a fundamental element of his work. One of his most important bodies of work, 'Berlin Nach 1945', has never been published as a whole. He has elaborated a powerful visual record of a city in a state of flux. |
| ariella azoulay the civil contract of photography: Picturing Frederick Douglass: An Illustrated Biography of the Nineteenth Century's Most Photographed American Celeste-Marie Bernier, John Stauffer, Zoe Trodd, 2015-11-02 Finalist for the Gilder Lehrman Lincoln Prize A landmark and collectible volume—beautifully produced in duotone—that canonizes Frederick Douglass through historic photography. Commemorating the bicentennial of Frederick Douglass’s birthday and featuring images discovered since its original publication in 2015, this “tour de force” (Library Journal, starred review) reintroduced Frederick Douglass to a twenty-first-century audience. From these pages—which include over 160 photographs of Douglass, as well as his previously unpublished writings and speeches on visual aesthetics—we learn that neither Custer nor Twain, nor even Abraham Lincoln, was the most photographed American of the nineteenth century. Indeed, it was Frederick Douglass, the ex-slave-turned-abolitionist, eloquent orator, and seminal writer, who is canonized here as a leading pioneer in photography and a prescient theorist who believed in the explosive social power of what was then just an emerging art form. Featuring: Contributions from Henry Louis Gates, Jr., and Kenneth B. Morris, Jr. (a direct Douglass descendent) 160 separate photographs of Douglass—many of which have never been publicly seen and were long lost to history A collection of contemporaneous artwork that shows how powerful Douglass’s photographic legacy remains today, over a century after his death All Douglass’s previously unpublished writings and speeches on visual aesthetics |
| ariella azoulay the civil contract of photography: The Human Snapshot Thomas Keenan, Tirdad Zolghadr, Fondation LUMA., 2013 The 1955 exhibition The Family of Man, first shown at MoMA, used |
| ariella azoulay the civil contract of photography: The Good Drone Austin Choi-Fitzpatrick, 2020-07-28 How small-scale drones, satellites, kites, and balloons are used by social movements for the greater good. Drones are famous for doing bad things: weaponized, they implement remote-control war; used for surveillance, they threaten civil liberties and violate privacy. In The Good Drone, Austin Choi-Fitzpatrick examines a different range of uses: the deployment of drones for the greater good. Choi-Fitzpatrick analyzes the way small-scale drones--as well as satellites, kites, and balloons--are used for a great many things, including documenting human rights abuses, estimating demonstration crowd size, supporting anti-poaching advocacy, and advancing climate change research. In fact, he finds, small drones are used disproportionately for good; nonviolent prosocial uses predominate. |
| ariella azoulay the civil contract of photography: Demanding Images Karen Strassler, 2020-03-20 The end of authoritarian rule in 1998 ushered in an exhilarating but unsettled period of democratization in Indonesia. A more open political climate converged with a rapidly changing media landscape, yielding a vibrant and volatile public sphere within which Indonesians grappled with the possibilities and limits of democracy amid entrenched corruption, state violence, and rising forms of intolerance. In Demanding Images Karen Strassler theorizes image-events as political processes in which publicly circulating images become the material ground of struggles over the nation's past, present, and future. Considering photographs, posters, contemporary art, graffiti, selfies, memes, and other visual media, she argues that people increasingly engage with politics through acts of making, circulating, manipulating, and scrutinizing images. Demanding Images is both a closely observed account of Indonesia's turbulent democratic transition and a globally salient analysis of the work of images in the era of digital media and neoliberal democracy. Strassler reveals politics today to be an unruly enterprise profoundly shaped by the affective and evidentiary force of images. |
| ariella azoulay the civil contract of photography: Negative/Positive Geoffrey Batchen, 2020-12-21 As its title suggests, Negative/Positive begins with the negative, a foundational element of analog photography that is nonetheless usually ignored, and uses this to tell a representative, rather than comprehensive, history of the medium. The fact that a photograph is split between negative and positive manifestations means that its identity is always simultaneously divided and multiplied. The interaction of these two components was often spread out over time and space and could involve more than one person, giving photography the capacity to produce multiple copies of a given image and for that image to have many different looks, sizes and makers. This book traces these complications for canonical images by such figures as William Henry Fox Talbot, Kusakabe Kimbei, Dorothea Lange, Man Ray, Seydou Keïta, Richard Avedon, and Andreas Gursky. But it also considers a number of related issues crucial to any understanding of photography, from the business practices of professional photographers to the repetition of pose and setting that is so central to certain familiar photographic genres. Ranging from the daguerreotype to the digital image, the end result is a kind of little history of photography, partial and episodic, but no less significant a rendition of the photographic experience for being so. This book represents a summation of Batchen’s work to date, making it be essential reading for students and scholars of photography and for all those interested in the history of the medium |
| ariella azoulay the civil contract of photography: Civil Contract Georgette Heyer, 2011-11-01 A five-star job of sheerly delightful romance writing.— Chicago Sunday Tribune Can the wrong bride become the perfect wife? Adam Deveril, the new Viscount Lynton, is madly in love with the beautiful Julia Oversley. But he has returned from the Peninsular War to find his family on the brink of ruin and his ancestral home mortgaged to the hilt. He has little choice when he is introduced to Mr. Jonathan Chawleigh, a City man of apparently unlimited wealth and no social ambitions for himself-but with his eyes firmly fixed on a suitable match for his only daughter, the quiet and decidedly plain Jenny Chawleigh. What Readers Say: Heyer always writes brilliantly and is capable of conveying the deepest emotions in the briefest of phrases and subtlest dialogue. One of Heyer's most skillfully written novels. Has all of Heyer's usual wit, vivid characters, and attention to detail. One of my very favourite Heyers — and one of her most profound. Wise and heartwarming. Thoughtful and thought-provoking ... reveals depths to Heyer's writing. Truly a gem. Georgette Heyer wrote over fifty novels, including Regency romances, mysteries, and historical fiction. She was known as the Queen of Regency romance, and was legendary for her research, historical accuracy, and her extraordinary plots and characterizations. |
| ariella azoulay the civil contract of photography: Refracted Visions Karen Strassler, 2010-04-20 A young couple poses before a painted backdrop depicting a modern building set in a volcanic landscape; a college student grabs his camera as he heads to a political demonstration; a man poses stiffly for his identity photograph; amateur photographers look for picturesque images in a rural village; an old woman leafs through a family album. In Refracted Visions, Karen Strassler argues that popular photographic practices such as these have played a crucial role in the making of modern national subjects in postcolonial Java. Contending that photographic genres cultivate distinctive ways of seeing and positioning oneself and others within the affective, ideological, and temporal location of Indonesia, she examines genres ranging from state identification photos to pictures documenting family rituals. Oriented to projects of selfhood, memory, and social affiliation, popular photographs recast national iconographies in an intimate register. They convey the longings of Indonesian national modernity: nostalgia for rural idylls and “tradition,” desires for the trappings of modernity and affluence, dreams of historical agency, and hopes for political authenticity. Yet photography also brings people into contact with ideas and images that transcend and at times undermine a strictly national frame. Photography’s primary practitioners in the postcolonial era have been Chinese Indonesians. Acting as cultural brokers who translate global and colonial imageries into national idioms, these members of a transnational minority have helped shape the visual contours of Indonesian belonging even as their own place within the nation remains tenuous. Refracted Visions illuminates the ways that everyday photographic practices generate visual habits that in turn give rise to political subjects and communities. |
| ariella azoulay the civil contract of photography: Decolonising the Camera Mark Sealy, 2019-07 Decolonising the Camera trains Mark Sealy's sharp critical eye on the racial politics at work within photography, in the context of heated discussions around race and representation, the legacies of colonialism, and the importance of decolonising the university. Sealy analyses a series of images within and against the violent political reality of Western imperialism, and aims to extract new meanings and develop new ways of seeing that bring the Other into focus. The book demonstrates that if we do not recognise the historical and political conjunctures of racial politics at work within photography, and their effects on those that have been culturally erased, made invisible or less than human by such images, then we remain hemmed within established orthodoxies of colonial thought concerning the racialised body, the subaltern and the politics of human recognition. With detailed analyses of photographs - included in an insert - by Alice Seeley Harris, Joy Gregory, Rotimi Fani-Kayode and others, and spanning more than 100 years of photographic history, Decolonising the Camera contains vital visual and written material for readers interested in photography, race, human rights and the effects of colonial violence. |
| ariella azoulay the civil contract of photography: Protest Photographs Chauncey Hare, 2009 Edited by Jack Steven. Text by Chauncey Hare. |
| ariella azoulay the civil contract of photography: Outlaw Territories Felicity D. Scott, 2016-04-15 Traces the relations of architecture and urbanism to forms of human unsettlement and territorial insecurity during the 1960s and 70s--Dust jacket. |
| ariella azoulay the civil contract of photography: Hide and Seek Hanna Rose Shell, 2012-04-05 A history and theory of the drive to hide in plain sight. |
| ariella azoulay the civil contract of photography: Photojournalists on War Michael Kamber, 2013-05-15 With previously unpublished photographs by an incredibly diverse group of the world's top news photographers, Photojournalists on War presents a groundbreaking new visual and oral history of America's nine-year conflict in the Middle East. Michael Kamber interviewed photojournalists from many leading news organizations, including Agence France-Presse, the Associated Press, the Guardian, the Los Angeles Times, Magnum, Newsweek, the New York Times, Paris Match, Reuters, Time, the Times of London, VII Photo Agency, and the Washington Post, to create the most comprehensive collection of eyewitness accounts of the Iraq War yet published. These in-depth interviews offer first-person, frontline reports of the war as it unfolded, including key moments such as the battle for Fallujah, the toppling of Saddam's statue, and the Haditha massacre. The photographers also vividly describe the often shocking and sometimes heroic actions that journalists undertook in trying to cover the war, as they discuss the role of the media and issues of censorship. These hard-hitting accounts and photographs, rare in the annals of any war, reveal the inside and untold stories behind the headlines in Iraq. |
| ariella azoulay the civil contract of photography: Forensic Architecture Eyal Weizman, 2017-05-01 In recent years, a little-known research group named Forensic Architecture began using novel research methods to undertake a series of investigations into human rights abuses. Today, the group provides crucial evidence for international courts and works with a wide range of activist groups, NGOs, Amnesty International, and the UN. Beyond shedding new light on human rights violations and state crimes across the globe, Forensic Architecture has also created a new form of investigative practice that bears its name. The group uses architecture as an optical device to investigate armed conflicts and environmental destruction, as well as to cross-reference a variety of evidence sources, such as new media, remote sensing, material analysis, witness testimony, and crowd-sourcing. In Forensic Architecture, Eyal Weizman, the group’s founder, provides, for the first time, an in-depth introduction to the history, practice, assumptions, potentials, and double binds of this practice. The book includes an extensive array of images, maps, and detailed documentation that records the intricate work the group has performed. Included in this volume are case studies that traverse multiple scales and durations, ranging from the analysis of the shrapnel fragments in a room struck by drones in Pakistan, the reconstruction of a contested shooting in the West Bank, the architectural recreation of a secret Syrian detention center from the memory of its survivors, a blow-by-blow account of a day-long battle in Gaza, and an investigation of environmental violence and climate change in the Guatemalan highlands and elsewhere. Weizman’s Forensic Architecture, stunning and shocking in its critical narrative, powerful images, and daring investigations, presents a new form of public truth, technologically, architecturally, and aesthetically produced. Their practice calls for a transformative politics in which architecture as a field of knowledge and a mode of interpretation exposes and confronts ever-new forms of state violence and secrecy. |
| ariella azoulay the civil contract of photography: Ghostly Apparitions Stefan Andriopoulos, 2013-06-09 Drawing together literature, media, and philosophy, Ghostly Apparitions provides a new model for media archaeology and its transformation of intellectual and literary history. Stefan Andriopoulos examines new media technologies and distinct cultural realms, tracing connections between Kant’s philosophy and the magic lantern’s phantasmagoria, the Gothic novel and print culture, and spiritualist research and the invention of television. As Kant was writing about the possibility of spiritual apparitions, the emerging medium of the phantasmagoria used hidden magic lanterns to startle audiences with ghostly projections. Andriopoulos juxtaposes the philosophical arguments of German idealism with contemporaneous occultism and ghost shows. In close readings of Kant, Hegel, and Schopenhauer, he traces the diverging modes in which these authors appropriated figures of optical media and spiritualist notions. The spectral apparitions from this period also intersect with the rise of popular print culture. Andriopoulos explores the circulation of ostensibly authentic ghost narratives and the Gothic novel, which was said to produce “reading addiction” and a loss of reality. Romantic representations of animal magnetism and clairvoyance similarly blurred the boundary between fiction and reality. The final chapter of Ghostly Apparitions extends this archaeology of new media into the early twentieth century. Tracing a reciprocal inter_action between occultism and engineering, Andriopoulos uncovers how theories and devices of psychical research enabled the emergence of television. |
| ariella azoulay the civil contract of photography: On Photography Susan Sontag, 1977 |
| ariella azoulay the civil contract of photography: Sensible Politics Meg McLagan, Yates McKee, 2012 The interaction of politics and the visual in the activities of nongovernmental activists. Political acts are encoded in medial forms--punch holes on a card, images on a live stream, tweets about events unfolding in real time--that have force, shaping people as subjects and forming the contours of what is sensible, legible, and visible. In doing so they define the terms of political possibility and create terrain for political acts. Sensible Politics considers the constitutive role played by aesthetic and performative techniques in the staging of claims by nongovernmental activists. Attending to political aesthetics means focusing not on a disembodied image that travels under the concept of art or visual culture, nor on a preformed domain of the political that seeks subsequent expression in media form. Instead it requires bringing the two realms together into the same analytic frame. A diverse group of contributors, from art historians, anthropologists, and political theorists to artists, filmmakers, and architects, considers the interaction of politics and the visual in such topics as the political consequences of a photograph taken by an Israeli soldier in a Palestinian house in Ramallah; AIDS activism; images of social suffering in Iran; the forensic architecture of claims to truth; and the Make Poverty History campaign. Transcending disciplines, they trace a broader image complex whereby politics is brought to visibility through the mediation of specific cultural forms that mix the legal and the visual, the hermeneutic and the technical, the political and the aesthetic. Their contributions offer critical insight into the practices of mediation whereby the political becomes manifest. |
| ariella azoulay the civil contract of photography: Mediations Susan Meiselas, Eduardo Cadava, Kristen Lubben, Ariella Azoulay, Işın Önol, Corey Keller, Marianne Hirsch, 2018 This exhaustive monograph of Susan Meiselas will be released in occasion of the retrospective that will take place at Tàpies Foundation in Barcelone, Jeu de Paume in Paris and SFMOMA in San Francisco. Mediations is published by Damiani/Jeu de Paume/Fondation Tàpies. This exhibition and monograph propose a selection of works from the 1970s to today which reveal the particular approach of Susan Meiselas toward to the underlying reasons for making photographs, how the image concerns it's subject as much as the photographer and the role that these images can have at different levels in society and particularly in photojournalism. She questions the relationship between the image and the subject in such a way as to include the people portrayed in the image in the process of the making. There is nothing systematic in her approach: each work expresses in a very strong manner that context is vital to the understanding of photography. Therefore her work is specific to the persons portrayed, to the notion of community to which they belong and to the locality of the geographic and political territories that the artist addresses. The way of the showing the work is equally a part of the thought process. How does the spectator behold the artwork? It is often comprised of many parts, made in different media: each layer is used to document a level of meaning. For Meiselas one should be able to grasp why the image was taken. Both the subject of the image and the context in which the images are shown are taken into account in the elaboration of each project. |
| ariella azoulay the civil contract of photography: Human Archipelago Fazal Sheikh, Teju Cole, 2019-02-28 For the past 25 years, Fazal Sheikh has highlighted the plight of displaced people and refugees around the world. He has photographed people driven from their homes by war as well as those upended by the redrawing of national borders and the reassertion of racial and ethnic divisions. Sheikh has also made sublime photographs of landscapes altered by political and environmental crises. In the past two years, the shift to the political right in the US has been replicated across Europe, the Middle East, Central and East Africa and Southeast Asia, as authoritarian governments and xenophobia have increased. As an act of refusal to these political trends, Sheikh sought out the celebrated novelist and critic Teju Cole for a collaboration that would reinforce their commitment to the ideal of a compassionate global community as well as the importance of individual courage. The resulting book represents the two authors' distinct visions, their shared values and mutual spirit of cooperation. With Cole's words and Sheikh's photos we are confronted with fundamental and newly necessary questions of coexistence: who is my neighbor? Who is kin to me? Who is a stranger? What does it mean to be human? Teju Cole (born 1975) is a Brooklyn-based novelist, essayist and photographer. His honors include the PEN/Hemingway Award, the Internationaler Literaturpreis and a Guggenheim Fellowship. Cole's photography book Blind Spot was shortlisted for the Paris Photo--Aperture Foundation PhotoBook Awards. He is the photography critic of the New York Times Magazine and Gore Vidal Professor of the Practice of Creative Writing at Harvard University. The photographs of Fazal Sheikh (born 1965) have been exhibited internationally from Tate Modern, London, to the Metropolitan Museum and United Nations Headquarters in New York and the Mapfre Foundation, Madrid. The author of 15 monographs, many published by Steidl, Sheikh is currently the Currie C. and Thomas A. Barron Visiting Professor in the Environment and the Humanities at Princeton University. |
The Civil Contract Of Photography (2024) - wclc2019.iaslc.org
Content The Civil Contract of Photography Ariella Azoulay,2021-09-14 In this groundbreaking work, Ariella Azoulay thoroughly revises our understanding of the ethical status of …
Ariella Azoulay The Civil Contract Of Photography
Ariella Azoulay's The Civil Contract of Photography (2012) is a seminal work that reshapes our understanding of photography's role in society. Moving beyond purely aesthetic or historical …
Azoulay Ariella (PDF)
The Civil Contract of Photography Ariella Azoulay,2021-09-14 In this groundbreaking work Ariella Azoulay thoroughly revises our understanding of the ethical status of photography It must she …
What is a photograph? What is photography? - Monoskop
Civil Contract of Photography and in two archive-exhibitions, I formulated theoretically and provided practically the minimal basis for an answer to these questions: a photograph is the …
The Civil Contract Of Photography (book)
The Civil Contract of Photography Ariella Azoulay,2021-09-14 In this groundbreaking work Ariella Azoulay thoroughly revises our understanding of the ethical status of photography It must she …
The Civil Contract Of Photography (Download Only)
From Palestine to Israel Ariella Azoulay,2011-11-15 In this carefully curated and beautifully presented photobook Ariella Azoulay offers a new perspective on four crucial years in the …
Archive.org
A Comment on the Photographs The decision to print some of the photographs included in this book wasadifficultonethatIreversedseveraltimesduringmyworkonthe manuscript ...
The Imperial Condition of Photography in Palestine: Archives, …
ARIELLA AZOULAY. In front of many cameras and representatives of the international community that surround him, unexpectedly, and outside of any protocol that was prepared for this …
A Photographic Record of Destruction and State FROM …
Pursuing the path that she has uniquely laid down in relation to the civil contract of photography, Ariella Azoulay turns her attention to the formation of the State of Israel and its devastating …
13. “The Compass of Repair”: An Interview with Ariella Aïsha …
There is a shift in scale between The Civil Contract of Photography (Azoulay, 2008) and Potential History (Azoulay, 2019), but it happened through a consecutive series of shifts that were actually
On Collaborative Practice in Contemporary Photography Anne Ruygt
With her highly political writing on photography, cultural theorist and Brown University professor Ariella Azoulay questions fundamental thoughts about the medium and its history, effects, and …
Ariella Azoulay The Civil Contract Of Photography (2024)
between Israeli artist and philosopher Aïm Deüelle Lüski and visual culture theorist Ariella Azoulay. In their longstanding working relationship, they research how to theorize the structure …
azoulay, Ariella Aïsha Potential History: Unlearning Imperialism ...
The Civil Contract of Photography (2008) and . Civil Imagi-nation: The Political Ontology of Photog-raphy (2012), which reoriented thinking about photography as event rather than image, …
Ariella Azoulay From Palestine to Israel A Photographic Record of ...
She is the author of Civil Imagination: Political Ontology of Photography (2011), The Civil Contract of Photography (2008), Once Upon a Time: Photography Following Walter Benjamin (2006) and …
RECOGNIZING THE PAIN OF OTHERS: SONTAG, AZOULAY AND …
Azoulay, however, believes that we must consider the 'civil contract of photography' that is created by virtue of a world community of photography, thrusting responsibility onto the viewer. …
Reviews - ResearchGate
The Civil Contract of Photography. by Ariella Azoulay Zone Books, 2008, 585 pp., ISBN 978-1-890-95188-7. What does it mean to look at a photograph? What is our role as spectators...
C V URRICULUM ITAE - Brown University
Ariella Aïsha Azoulay, Professor of Modern Culture and Media and Comparative Literature, Brown University. Post-Doctoral Research Fellow, The Rosenzweig Center, The Hebrew University, …
Ariella Aïsha Azoulay Fotografías de lo inmostrable
Ariella Aïsha Azoulay Fotografías de lo inmostrable. Toda vez que la fotografía se entiende –como propu-se en The Civil Contract of Photography–1 como un en-cuentro en el que varios …
Azoulay Ariella The Civil Contract Of Photography
azoulay ariella civil contract of catastrophe and political topics on posts on indigo online indigo account, we reserve the disposition to rights. Please use of, azoulay ariella the civil contract of …
The Civil Contract Of Photography (2024) - wclc2019.iaslc.org
Content The Civil Contract of Photography Ariella Azoulay,2021-09-14 In this groundbreaking work, Ariella Azoulay thoroughly revises our understanding of the ethical status of …
Ariella Azoulay The Civil Contract Of Photography
Ariella Azoulay's The Civil Contract of Photography (2012) is a seminal work that reshapes our understanding of photography's role in society. Moving beyond purely aesthetic or historical …
Azoulay Ariella (PDF)
The Civil Contract of Photography Ariella Azoulay,2021-09-14 In this groundbreaking work Ariella Azoulay thoroughly revises our understanding of the ethical status of photography It must she …
What is a photograph? What is photography? - Monoskop
Civil Contract of Photography and in two archive-exhibitions, I formulated theoretically and provided practically the minimal basis for an answer to these questions: a photograph is the …
The Civil Contract Of Photography (book)
The Civil Contract of Photography Ariella Azoulay,2021-09-14 In this groundbreaking work Ariella Azoulay thoroughly revises our understanding of the ethical status of photography It must she …
The Civil Contract Of Photography (Download Only)
From Palestine to Israel Ariella Azoulay,2011-11-15 In this carefully curated and beautifully presented photobook Ariella Azoulay offers a new perspective on four crucial years in the …
Archive.org
A Comment on the Photographs The decision to print some of the photographs included in this book wasadifficultonethatIreversedseveraltimesduringmyworkonthe manuscript ...
The Imperial Condition of Photography in Palestine: Archives, …
ARIELLA AZOULAY. In front of many cameras and representatives of the international community that surround him, unexpectedly, and outside of any protocol that was prepared for this …
A Photographic Record of Destruction and State FROM PALESTINE …
Pursuing the path that she has uniquely laid down in relation to the civil contract of photography, Ariella Azoulay turns her attention to the formation of the State of Israel and its devastating …
13. “The Compass of Repair”: An Interview with Ariella Aïsha Azoulay
There is a shift in scale between The Civil Contract of Photography (Azoulay, 2008) and Potential History (Azoulay, 2019), but it happened through a consecutive series of shifts that were actually
On Collaborative Practice in Contemporary Photography Anne …
With her highly political writing on photography, cultural theorist and Brown University professor Ariella Azoulay questions fundamental thoughts about the medium and its history, effects, and …
Ariella Azoulay The Civil Contract Of Photography (2024)
between Israeli artist and philosopher Aïm Deüelle Lüski and visual culture theorist Ariella Azoulay. In their longstanding working relationship, they research how to theorize the structure …
azoulay, Ariella Aïsha Potential History: Unlearning Imperialism ...
The Civil Contract of Photography (2008) and . Civil Imagi-nation: The Political Ontology of Photog-raphy (2012), which reoriented thinking about photography as event rather than …
Ariella Azoulay From Palestine to Israel A Photographic Record of ...
She is the author of Civil Imagination: Political Ontology of Photography (2011), The Civil Contract of Photography (2008), Once Upon a Time: Photography Following Walter Benjamin (2006) …
RECOGNIZING THE PAIN OF OTHERS: SONTAG, AZOULAY AND …
Azoulay, however, believes that we must consider the 'civil contract of photography' that is created by virtue of a world community of photography, thrusting responsibility onto the viewer. …
Reviews - ResearchGate
The Civil Contract of Photography. by Ariella Azoulay Zone Books, 2008, 585 pp., ISBN 978-1-890-95188-7. What does it mean to look at a photograph? What is our role as spectators...
C V URRICULUM ITAE - Brown University
Ariella Aïsha Azoulay, Professor of Modern Culture and Media and Comparative Literature, Brown University. Post-Doctoral Research Fellow, The Rosenzweig Center, The Hebrew University, …
Ariella Aïsha Azoulay Fotografías de lo inmostrable
Ariella Aïsha Azoulay Fotografías de lo inmostrable. Toda vez que la fotografía se entiende –como propu-se en The Civil Contract of Photography–1 como un en-cuentro en el que varios …
Azoulay Ariella The Civil Contract Of Photography
azoulay ariella civil contract of catastrophe and political topics on posts on indigo online indigo account, we reserve the disposition to rights. Please use of, azoulay ariella the civil contract of …
