Posted on February 24, 2019

ALAN SEKULA THE BODY AND THE ARCHIVE PDF

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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You are commenting using your Twitter account. By continuing to use this website, you agree to their use. You thf commenting using your WordPress. The essay becomes most interesting to me from p.

Learn how your comment data is processed. Although that is important to any artist. To find out more, including how to control cookies, see here: For the first time it was influential, you see. The use of photography by the police has been significant and impacted upon society yet this is largely unrecognised.

The sciences of arcgive and physiognomy used photography in an attempt to further their claims and develop their research.

Allan Sekula “The Body and the Archive” (1986)

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.

Fill in your details below or click an icon to log in: Historical in approach, there is a political flavour from the beginning. This site uses Akismet to reduce spam.

Both had different approaches to the task of classifying people and trying to determine typologies. Hence, the work of two leading figures in this field is considered, the Frenchman Alphonse Bertillon and the Englishman Francis Galton.

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These two attitudes are identified by Sekula in documentary photographers, in their photographic relation to realism.

A 19th century Phrenology chart. 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.

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Allan Sekula-The body and the Archive | Rodrigo García de la Sienra –

There was obviously more than one interview in where Evans discussed his view as ASX reproduce another interview here. To find out more, including how to control cookies, see here: Evans is referring to his work having been in an Exhibition. Email required Address never made public.

Later photographers had utilised this approach e. 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.

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This site uses cookies. But the style of detachment and record is another matter. You are commenting using your Twitter account. Bertillon and Galton, represented two attempts to regulate social deviance by means aand photography. It was aimed not only to make a recognisable record of criminals but also to try and determine what the criminal type might be.

The Body and the Archive by Allan Sekula | Progressing With Digital Photography

You are commenting using your Facebook account. The main discussion points are: Amongst the sekupa, he mentions August Sanders author of the book: Pages a unit guide about learning resources Alan Sekula: 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 that oppose it.

Email required Address never made public. That applied to the world around us is what I do with the camera, what I want to alann done with the camera.

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This site uses cookies. 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.

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. You are commenting using your Twitter account. The archival paradigm is represented by the work of Alphonse Bertillon French, and Francis Galton English,two pioneers of early scientific policing that developed the concepts and tools that allowed the growth of the generalised practice of the bureaucratic handling of visual documents.

Amongst the contemporary photographers, Sekula contrast the approaches by two women photographers: 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.

To find out more, including how to control cookies, see here: Notify me of new comments via email. 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 that there is such a thing as a typical Jewish woman.

Sekula certainly provides plentiful evidence to support his viewpoint on the repressive use of photography and I think this is an interesting standpoint, given that he wrote this essay 30 years ago.