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A new, revolutionary history of photography from a stellar team of
writers and thinkers that challenges all existing narratives by
focusing on the complex collaborations between photographer and
subject. Led by five of the great thinkers and practitioners in
photography, and including texts by over 100 writers, critics and
academics, this groundbreaking publication presents a potential
history of photography explored through the lens of collaboration,
challenging the dominant narratives around photographic history and
authorship. With more than 1,000 photographs, it breaks apart
photography’s ‘single creator’ tradition by bringing to light
tangible traces of collaboration – the various relationships,
exchanges and interactions that occur between all participants in
the making of any photograph. This collaboration takes different
forms, including coercion and cooperation, friendship and
exploitation, and expresses shared interests as well as
competition, rivalry or antagonistic partnership. The conditions of
collaboration are explored through 100 photography ‘projects’,
divided into eight thematic chapters including ‘The Photographed
Subject’, ‘The Author’ and ‘Potentializing Violence’. The
result of years of research, Collaboration addresses key issues of
gender, race and societal hierarchies and divisions and their role
in forging identity and conformity. The photographs from each
project are presented non-hierarchically alongside quotes,
testimonies, and short texts by guest contributors. These networks
of texts and images offer perspectives on a vast array of
photographic themes, from Araki’s portraits of women to archival
files from the Spanish Civil War. Each chapter is introduced by the
editors, who provide the keys to understanding and decoding the
complex politics of seeing.
An argument that anyone can pursue political agency and resistance
through photography, even those with flawed or nonexistent
citizenship. In this compelling work, Ariella Azoulay reconsiders
the political and ethical status of photography. Describing the
power relations that sustain and make possible photographic
meanings, Azoulay argues that anyone-even a stateless person-who
addresses others through photographs or is addressed by photographs
can become a member of the citizenry of photography. The civil
contract of photography enables anyone to pursue political agency
and resistance through photography. Photography, Azoulay insists,
cannot be understood separately from the many catastrophes of
recent history. The crucial arguments of her book concern two
groups with flawed or nonexistent citizenship: the Palestinian
noncitizens of Israel and women in Western societies. Azoulay
analyzes Israeli press photographs of violent episodes in the
Occupied Territories, and interprets various photographs of
women-from famous images by stop-motion photographer Eadweard
Muybridge to photographs from Abu Ghraib prison. Azoulay asks this
question: under what legal, political, or cultural conditions does
it become possible to see and to show disaster that befalls those
who can claim only incomplete or nonexistent citizenship? Drawing
on such key texts in the history of modern citizenship as the
Declaration of the Rights of Man together with relevant work by
Giorgio Agamben, Jean-Francois Lyotard, Susan Sontag, and Roland
Barthes, Azoulay explores the visual field of catastrophe,
injustice, and suffering in our time. Her book is essential reading
for anyone seeking to understand the disasters of recent
history-and the consequences of how these events and their victims
have been represented.
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.
The spirit that founded the volume and guided its development is
radically inter- and transdisciplinary. Dispatches have arrived
from anthropology, communications, English, film studies (including
theory, history, criticism), literary studies (including theory,
history, criticism), media and screen studies, cognitive cultural
studies, narratology, philosophy, poetics, politics, and political
theory; and as a special aspect of the volume, theorist-filmmakers
make their thoughts known as well. Consequently, the critical
reflections gathered here are decidedly pluralistic and
heterogeneous, inviting-not bracketing or partitioning-the dynamism
and diversity of the arts, humanities, social sciences, and even
natural sciences (in so far as we are biological beings who are
trying to track our cognitive and perceptual understanding of a
nonbiological thing-namely, film, whether celluloid-based or in
digital form); these disciplines, so habitually cordoned off from
one another, are brought together into a shared conversation about
a common object and domain of investigation. This book will be of
interest to theorists and practitioners of nonfiction film; to
emerging and established scholars contributing to the secondary
literature; and to those who are intrigued by the kinds of
questions and claims that seem native to nonfiction film, and who
may wish to explore some critical responses to them written in
engaging language.
"Newtopia: The State of Human Rights" looks at human rights through
the work of 70 international contemporary artists. Many of these
artists come from countries or regions where human rights has been
or is a particularly pressing issue, such as the Arab World, China,
India, Latin America, South Africa and Russia. Much more than a
straightforward exhibition catalogue, "Newtopia" is composed of
three sections. The first part assesses the current state of the
human rights debate in essays and philosophical reflections; the
second collects contributions by various international human rights
activists, in which gripping testimonies and historical
reconstructions alternate with socio-political analyses; and the
third reproduces a selection of artworks. Among the artists
included are Hans Haacke, Taryn Simon, Kendell Geers, Taysir
Batniji, Alejandro Cesarco, Pablo Picasso, Andy Warhol, Woloo,
Nikita Kadan, Pia Ronike, Kostis Velonis, Zhou Zixi, Ai Weiwei,
Marina Abramovic, Wilchar, Simon Starling, Boniface Mwongi and
An-my Le.
The spirit that founded the volume and guided its development is
radically inter- and transdisciplinary. Dispatches have arrived
from anthropology, communications, English, film studies (including
theory, history, criticism), literary studies (including theory,
history, criticism), media and screen studies, cognitive cultural
studies, narratology, philosophy, poetics, politics, and political
theory; and as a special aspect of the volume, theorist-filmmakers
make their thoughts known as well. Consequently, the critical
reflections gathered here are decidedly pluralistic and
heterogeneous, inviting-not bracketing or partitioning-the dynamism
and diversity of the arts, humanities, social sciences, and even
natural sciences (in so far as we are biological beings who are
trying to track our cognitive and perceptual understanding of a
nonbiological thing-namely, film, whether celluloid-based or in
digital form); these disciplines, so habitually cordoned off from
one another, are brought together into a shared conversation about
a common object and domain of investigation. This book will be of
interest to theorists and practitioners of nonfiction film; to
emerging and established scholars contributing to the secondary
literature; and to those who are intrigued by the kinds of
questions and claims that seem native to nonfiction film, and who
may wish to explore some critical responses to them written in
engaging language.
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.
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 ruleOCoboth in everyday
political discussion and in legal and academic debatesOCoas
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 apparatusOCothe technologies and operations of the Israeli
army, the General Security Services, and the legal system imposed
in the Occupied TerritoriesOCoAzoulay 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."
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 reading over 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.
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