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"Maimon, Vered"
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Singular images, failed copies : William Henry Fox Talbot and the early photograph
\"Focusing on early nineteenth-century England-and on the works and texts of the inventor of paper photography, William Henry Fox Talbot-Singular Images, Failed Copies historicizes the conceptualization of photography in that era as part of a major historical change.Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today's prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot's accounts on the removal of the \"artist's hand\" in favor of \"the pencil of nature\" did not mark a shift from manual to \"mechanical\" and more accurate or \"objective\" systems of representation.In Singular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries. \"-- Provided by publisher.
Book
Singular Images, Failed Copies
Focusing on early nineteenth-century England?and on the works and texts of the inventor of paper photography, William Henry Fox Talbot?Singular Images, Failed Copieshistoricizes the conceptualization of photography in that era as part of a major historical change.
Treating photography not merely as a medium or a system of representation but also as an epistemology, Vered Maimon challenges today's prevalent association of the early photograph with the camera obscura. Instead, she points to material, formal, and conceptual differences between those two types of images by considering the philosophical and aesthetic premises linked with early photography. Through this analysis she argues that the emphasis in Talbot's accounts on the removal of the \"artist's hand\" in favor of \"the pencil of nature\" didnotmark a shift from manual to \"mechanical\" and more accurate or \"objective\" systems of representation.
InSingular Images, Failed Copies, Maimon shows that the perception of the photographic image in the 1830s and 1840s was in fact symptomatic of a crisis in the epistemological framework that had informed philosophical, scientific, and aesthetic thought for two centuries.
eBook
Contemporary art, photography, and the politics of citizenship
\"This book analyzes recent artistic and activist projects in order to conceptualize the new roles and goals of a critical theory and practice of art and photography. Vered Maimon argues that current artistic and activist practices are no longer concerned with the \"politics of representation\" and the critique of the spectacle, but with a \"politics of rights\" and the performative formation of shared yet highly contested public domains. The book thus offers a critical framework in which to rethink the artistic, the activist, and the political under globalization. The primary focus is on the ways contemporary artists and activists examine political citizenship as a paradox where subjects are struggling to acquire rights whose formulation rests on attributes they allegedly don't have; while the universal political validity of these rights presupposes precisely the abstraction of every form of difference, rights for all. The book will be of interest to scholars working in art history, contemporary art, photography theory, visual culture, cultural studies, critical theory, political theory, human rights, and activism\"-- Provided by publisher.
BOOK
Speaking to Strangers: Sharon Hayes and the Publics of Politics
In Symbionese Liberation Army (SLA) Screeds #13, 16, 20, and 29 (2003) Sharon Hayes recites the declarations made by Patty Hearst on four audiotapes that were delivered to underground radio stations in 1974. By changing Hearst's statements from auditory announcements to textual transcripts to a visual performance in front of an audience, Hayes's work explores not just the rhetorical and performative affects of political modes of address, but also the importance of transmission and circulation processes in the formation of publics.
Journal Article
Precarious Marks: Thomas Ruff's \jpegs\
This essay analyses Thomas Ruff's jpegs series (from 2004) and argues, against recent proclamations by scholars and artists such as Michael Fried and Jeff Wall regarding the 'defeat' of Conceptual Art, that in fact it is precisely the conceptual photographic 'document' that has become an epistemological and conceptual horizon within which contemporary art operates. In jpegs images appear as authorless, anonymous generic documents and thus can be defined as appropriated readymades. Nevertheless, rather than simply continuing conceptual strategies of de-skilling which mobilize the serial 'document' as 'a piece of information' in the 1970s, Ruff's jpegs show that today photographic images are pure information, that is, they signal the fact that in the current moment dematerialized images are treated not only as depictions but mainly as quantitative information. By focusing on the new technological and economic conditions for the circulation and storage of photographic images, jpegs outline a new form of subjectivity as a 'structural' effect of this shift to the digital. They also make clear that in the history of photography the conceptual was never separated from the formal.
Journal Article
Introduction
This book historicizes the conception of photography in the early nineteenth century in England as part of an epistemological shift in which new systems and methods of knowledge were constituted after the collapse of natural philosophy as a viable framework for the study of nature. It locates the conditions for the conceptualization of photography within the legacy of British empiricism and the introduction of time into formations of knowledge. By addressing photography not merely as a medium or a system of representation but also as a specific epistemological figure, this book emphasizes historical discontinuity in order to challenge the prevalent
Book Chapter
Towards a New Image of Politics: Chris Marker's Staring Back
This essay analyzes Chris Marker's recent exhibition and book of photographs Staring Back. This project joined together black and white photographs of political demonstrations from the 1960s to the present and portraits from Marker's oeuvre. Some of the images are actual photographs and some were extracted from Marker's film and video footage and altered digitally using Photoshop and Painter. The first part of the essay focuses on the way the 'people' are represented in these images in relation to current political philosophy, mainly the writings of Etienne Balibar, Giorgio Agamben, Jacques Rancière, and Gilles Deleuze's cinema books. The second part is concerned with individual portraits and the face in relation to Deleuze's concept of the 'affection image' and the cinematic close-up. The essay argues that what unites these two groups of images is an epistemological and political move beyond identity. On the one hand these images suggest 'a new politics of the image' because they indicate that 'virtuality' is not simply the outcome of the technological digital revolution in image production in which the indexical status of analogical photography is eliminated, but of a different way of thinking and making visual images beyond what Deleuze calls 'representation,' a form of thought that is based on notions of resemblance, truth, and identity. On the other hand they offer 'a new image of the people' because they show that in the current age politics can only exist beyond the realm of identities, precisely in the possibility, as Balibar argues, of creating transnational forms of citizenship.
Journal Article
Towards a New Image of Politics: Chris Marker's Staring Back
This essay analyzes Chris Marker's recent exhibition and book of photographs Staring Back. This project joined together black and white photographs of political demonstrations from the 1960s to the present and portraits from Marker's oeuvre. Some of the images are actual photographs and some were extracted from Marker's film and video footage and altered digitally using Photoshop and Painter. The first part of the essay focuses on the way the 'people' are represented in these images in relation to current political philosophy, mainly the writings of Étienne Balibar, Giorgio Agamben, Jacques Rancière, and Gilles Deleuze's cinema books. The second part is concerned with individual portraits and the face in relation to Deleuze's concept of the 'affection image' and the cinematic close-up. The essay argues that what unites these two groups of images is an epistemological and political move beyond identity. On the one hand these images suggest 'a new politics of the image' because they indicate that 'virtuality' is not simply the outcome of the technological digital revolution in image production in which the indexical status of analogical photography is eliminated, but of a different way of thinking and making visual images 'beyond what Deleuze calls 'representation,' a form of thought that is based on notions of resemblance, truth, and identity. On the other hand they offer 'a new image of the people' because they show that in the current age politics can only exist beyond the realm of identities, precisely in the possibility, as Balibar argues, of creating transnational forms of citizenship. (Author abstract)
Journal Article
Time
In both of Talbot’s discovery accounts and his comments to The Pencil of Nature, he emphasized that photogenic drawings were “formed or depicted by optical and chemical means alone, and without the aid of any one acquainted with the art of drawing.”¹ Traditionally scholars interpreted this emphasis on the removal of the “artist’s hand” in favor of “nature’s pencil” as marking a shift from manual to “mechanical” and more accurate or “objective” systems of representation.² Underlining the important role the camera obscura played in Talbot’s conception of photogenic drawing, as made evident in his 1844 account, historians of photography thus
Book Chapter