“What we need is a critique of visual culture that is alert to the power of images for good and evil and that is capable of discriminating the variety and historical specificity of their uses.” - W.J.T. Mitchell. Picture Theory (1994).
Labels: Obituaries, Women in Photography
posted by Jim Johnson at 5/25/2014 09:43:00 PM
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"I was thinking what state the world is in, being an American - there is such a mix of positives and negatives ..." - Mary Halvorson
Labels: Music, patriotism
posted by Jim Johnson at 5/25/2014 08:07:00 PM
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Labels: Critics, David Levi Strauss, New Books
posted by Jim Johnson at 5/24/2014 08:09:00 PM
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Labels: camera, Leica, photojournalism
posted by Jim Johnson at 5/23/2014 09:39:00 AM
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Labels: Art, political graphics, politics
posted by Jim Johnson at 5/20/2014 10:05:00 AM
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Labels: digest, Nina Berman, Piketty & Saez, Rebecca Solnit, Vijay Iyer
posted by Jim Johnson at 5/17/2014 10:53:00 PM
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posted by Jim Johnson at 5/17/2014 07:48:00 PM
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posted by Jim Johnson at 5/17/2014 12:11:00 AM
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"Friedlander’s most indelible images are his portraits of musicians. Friedlander arrived in New Orleans at a high point in the jazz revivalist movement, when fans of jazz as it was originally played in New Orleans in the first two decades of the twentieth century (before the perceived corruptions of swing and bebop) descended on the city with tape recorders and notepads and cameras, hoping to catch some of the old magic and document it for posterity. [. . .]
Friedlander’s portraits do not feel celebratory, however. He found authenticity all right, . . . in the toll taken on his subjects by decades of privation and indifference. In his portraits the musicians—most of whom didn’t have the chops to follow Joe Oliver and Louis Armstrong north to Chicago forty years earlier—stare wistfully into the distance, or at the wall, as if indulging in some bittersweet private nostalgia. Many sit beside old family photographs, including pictures of themselves as young men. Some are photographed with their instrument, which they hold impotently, or rest in their laps. Their apartments are spare and poorly lit. There is dignity in these portraits, to be certain, and pride, but there is also despair."
"This sense of melancholy also shadows Friedlander’s photographs of performances. When George Lewis’s band plays a Bourbon Street tourist trap called the Paddock Lounge, the ceiling is so low that he almost has to duck, and nobody else in the frame—a patron, two bartenders—seems aware that they are in the presence of jazz royalty, an impression that is amplified by the insulting presence of the lawn jockey posing directly in front of Lewis. There are no audience members, for that matter, visible in most of the performance pictures, giving the impression that the musicians are playing for themselves."
Labels: Friedlander, Hobsbawm, jazz, Music, New Orelans, race, RIJF
posted by Jim Johnson at 5/16/2014 07:36:00 PM
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posted by Jim Johnson at 5/14/2014 10:35:00 AM
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Labels: Obituaries, photojournalism, War, Women in Photography
posted by Jim Johnson at 5/13/2014 09:33:00 PM
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Labels: Labor, May Day, political graphics, politics, Solidarity
posted by Jim Johnson at 5/01/2014 07:55:00 AM
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I am a political theorist with neither experience as, nor any real aspiration to be, a photographer. My interest is in the task Mitchell identifies in the passage I quote in the header. It remains, in my estimation, woefully neglected.
NEW COMMENTS POLICY ~
Unfortunately, I find it necessary to moderate comments on this blog.
I now no longer publish anonymous comments except in rare circumstances and only then at my sole discretion.
If you are interested in why I have implemented these policies, please scroll to the very, very bottom of the sidebar.
Revised ~ 21 August 2008
Now that the FTC has promulgated rules requiring full disclosure of any possible conflicts of interest, I feel obliged to note that I generally write about photography, books, recordings, and so on that I have paid for myself; if I ever do receive 'complimentary' copies of such works and then write about them, I will state that in the post. Having said that, my judgments about particular publications, (journalistic, artistic, or musical) works, or views are just that - judgments - if you take what I say as an "endorsement," that is your interpretation and you can act on it (or not) as you please. I'd say "caveat emptor!" but you are not actually buying anything here, so it is hard to see any basis for complaint.
"The camera is an instrument that teaches people how to see without a camera." ~ Dorothea Lange
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"Photography is nothing - it's life that interests me." ~ Henri Cartier-Bresson
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"Photos always seem to exist as sort of stuffy, unnecessary antiques that we put in a drawer — unless we take them out, put them in current dialogue, and give them relevance." ~ Mark Klett
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"The job of the photographer, in my view, is not to catalogue indisputable fact but to try to be coherent about intuition and hope. This is not to say that he is unconcerned with the truth." ~ Robert Adams
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"Light, then, .... is indeed a wonderful instrument ..." ~ Mark Rothko
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"What the modern means of reproduction have done is destroy the authority of art and to remove it - or rather, to remove the images which they reproduce - from any preserve. For the first time ever, images of art have become ephemeral, ubiquitous, insubstantial, available, valueless, free. They surround us the way language surrounds us. [. . .]
The art of the past no longer exists as it once did. It's authority is lost. In its place there is a language of images. What matters now is who uses that language for what purpose." ~ John Berger
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"[P]hotographs depend for their meaning on networks of authority. The image supplies little in itself. What counts is its use and the power to fix a particular interpretation of the events, objects or people depicted. Some people, and especially some institutions, have much more clout in this processs than others do." ~ Steve Edwards
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"The first question must always be: Who is using this photograph, and to what end?" ~ David Levi Strauss
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"By contrast, almost all writing about photography in our times tends to begin with the alleged nature of the product rather than with its production and use." ~ Patrick Maynard
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"Apolitical art and artless politics are the fruit of a divide-and- conquer strategy that weakens both; art and politics ignite each other and need each other." ~ Rebecca Solnit
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"... hard and fast categories ... tend to be instruments used by the victors." ~ Václav Havel (1986)
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"The opinion that art should have nothing to do with politics is itself a political attitude." ~ George Orwell (1946)
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"Can it still be controversial to say that an apparently disengaged poetics may also speak a political language - of self-enclosed complacency, passivity, opportunism, false neutrality . . . ?" ~ Adrienne Rich (2006)
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"I think art always is political, one way or another. That is, on purpose or by default." ~ Allan Sekula (2005)
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“Those who say that art should not propagate doctrines usually refer to doctrines that are opposed to their own.” ~ Jorge Luis Borges (1952)
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"My position is that you cannot work towards peace being peaceful. If the peace is to be one where everybody’s quiet and doesn’t open up ... share what’s unspeakable ... offer unsolicited criticism ... defend others’ rights to speak and encourage discourse — that peace is worth nothing. It reminds me of the kind of peace that was secured in my old country under the Communist regime. That is the death of democracy. That might have consequences as bad as war—bloody war and conflict. So, to prevent the world from bloody conflict, we must sustain a certain kind of adversarial life in which we are struggling with our problems in public." ~ Krzysztof Wodiczko
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“I am interested in a political art, that is to say an art of ambiguity, contradiction, uncompleted gestures, and uncertain endings; an art (and a politics) in which optimism is kept in check and nihilism at bay.” ~ William Kentridge (1998)
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"The function of art has always been to break through the crust of conventionalized and routine consciousness." ~ John Dewey (1927)
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Paris Review: Is it a concern to effect social change with your plays?
August Wilson: I don’t write particularly to effect social change. I believe writing can do that, but that’s not why I write. I work as an artist. All art is political in the sense that it serves someone’s politics. Here in America whites have a particular view of blacks. I think my plays offer them a different way to look at black Americans. For instance, in Fences they see a garbage man, a person they don’t really look at, although they see a garbage man every day. By looking at Troy’s life, white people find out that the content of this black garbage man’s life is affected by the same things—love, honor, beauty, betrayal, duty. Recognizing that these things are as much part of his life as theirs can affect how they think about and deal with black people in their lives.Paris Review: How would that same play, Fences, affect a black audience?
August Wilson: Blacks see the content of their lives being elevated into art. They don’t always know that it is possible, and it’s important for them to know that.
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"Most of all photography is probably an instrument for showing things, a device for displaying them." - Urs Stahel
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"The most political decision you make is where you direct people's eyes. In other words, what you show people, day in and day out, is political. . . . And the most politically indoctrinating thing you can do to a human being is to show her, every day, that there can be no change." ~ Wim Wenders
© Jacob Lawrence
"Democracy is a proposal (rarely realised) about decision making; it has little to do with election campaigns. Its promise is that political decisions be made after, and in the light of, consultation with the governed. This is dependent upon the governed being adequately informed about the issues in question, and upon the decision makers having the capacity and will to listen and take account of what they have heard. Democracy should not be confused with the “freedom” of binary choices, the publication of opinion polls or the crowding of people into statistics. These are its pretense.
Today the fundamental decisions, which effect the unnecessary pain increasingly suffered across the planet, have been and are taken unilaterally without any open consultation or participation." ~ John Berger
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"I have said that a photograph bears witness to a human choice being exercised. The choice is not between photographing x and y, but between photographing at x moment or y moment. . . . What varies is the intensity with which we are made aware of the poles of absence and presence. Between these two poles photography finds its proper meaning. ... A photograph, while recording what has been seen, always and by its nature refers to what is not seen. It isolates, preserves and presents a moment taken from a continuum. ... Hence the necessity of our understanding a weapon we can use and which can be used against us." ~ John Berger
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"Art patronage has always been a kind of money-laundering, a pretty public face for fortunes made in uglier ways." ~ Rebecca Solnit
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"605. One of the most dangerous ideas for a philosopher is, oddly enough, that we think with or in our heads.
606. The idea of thinking as a process in the head, in a completely enclosed space, gives him something occult.
607. Is thinking a specific organic process of the mind, so to speak - as it were chewing and digesting in the mind? Can we replace it by an inorganic process that fulfills the same end, as it were a prosthetic apparatus for thinking? How should we have to imagine a prosthetic organ of thought?" ~ Ludwig Wittgenstein
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"If one takes the view ... that human mental activity depends for its full expression upon being linked to a cultural tool kit - a set of prosthetic devices, so to speak - then we are well advised when studying mental activity to take into account the tools employed in that activity." ~ Jerome Bruner
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"...[H]uman thought is basically both social and public - ... its natural habitat is the house yard, the marketplace, and the town square. Thinking consists not of 'happenings in the head' (though happenings there and elsewhere are necessary for it to occur) but of a traffic in what have been called by G.H. Mead and others, significant symbols - words for the most part but also gestures, drawings, musical sounds, mechanical devices like clocks, or natural objects like jewels - anything, in fact, that is disengaged from its mere actuality and used to impose meaning on experience. From the point of view of any particular individual, such symbols are largely given. ... While she lives she uses them, or some of them, sometimes deliberately and with care, most often spontaneously and with ease, but always with the same end in view: to put a construction upon the events through which she lives, to orient herself within 'the ongoing course of experienced things,' to adopt a vivid phrase of Johns Dewey's." ~ Clifford Geertz
"Many persons seem to suppose that facts carry their meaning along with themselves on their face. Accumulate enough of them and their interpretation stares out at you. ... But ... no one is ever forced by just the collection of facts to accept a particular theory of their meaning, so long as one retains intact some other doctrine by which he can marshall them. Only when the facts are allowed free play for the suggestion of new points of view is any significant conversion of conviction as to meaning possible. ... In any event, social philosophy exhibits an immense gap between facts and doctrines." ~ John Dewey (1927)
"When the right-wing noise machine starts promoting another alleged scandal, you shouldn’t suspect that it’s fake — you should presume that it’s fake, until further evidence becomes available." ~ Paul Krugman (2010)
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"It's odd I suppose, ... but I have always had an aversion to the marriage of music and politics. Leaving the discussion of instrumental music aside, I have always admired songwriters, wished I could have been one myself. I love a song that tells a story, and when it tells of a man's suffering or a woman's hopelessness or dreams, one can certainly argue the case for political meaning, and in fact I would. But when people start telling me how to change the world over a G-major chord, that's when I generally leave the room. With all due respect, I always felt Joan Baez's 'I Dreamed I saw Joe Hill' was the moment in the movie 'Woodstock' to go out and get popcorn. It's a long movie after all. I was waiting for Sly and the Family Stone and I still am - "I want to take you higher - baby, baby, baby light my fire" - now there's a message!" ~ Wayne Horvitz
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"Music speaks. It speaks in its own language differently to each of us. I believe in music as a contribution to the discussion about who we are and where we are headed. ... The unruly thing about music is that it demands its own meanings that are beyond any explanation. You might be able to decipher the nuts and bolts, but in the end, you can't unscramble the mystery of how music makes you feel. That's why I don't often write about my music. Words can so often obscure the feelings and the sense of music. Music is not an argument, it lives in its own universe and refuses to be pinned down." ~ Dave Douglas
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" ... the questions a photographer raises may be more profound than the answers the medium permits." ~ Rebecca Solnit
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"Because, you know, the photographs . . . are more a question than a reply." ~ Sebastião Salgado
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"A picture can be an answer as well as a question but if you can't answer your question try to question your question. There are clever questions and stupid answers as well as stupid questions and clever answers. There can be questions without answers but no answers without questions." ~ Ernst Haas
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"The best art makes your head spin with questions. Perhaps this is the fundamental distinction between pure art and pure design. While great art makes you wonder, great design makes things clear." ~ John Maeda
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"I don't bring an essentialist view to my background as a designer. But design gave me an opportunity to observe and learn about the social politics of production, distribution, and use. Use is very important." ~ Krzystof Wodiczko
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“I don’t think it is the function of art to be pleasing. ... Art is not democratic.” ~ Richard Serra
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"We may distinguish between two types of imaginative process: the one starts with the word and arrives at the visual image and the one starts with the visual image and arrives at its verbal expression." ~ Italo Calvino
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"There is something embarrassing in ... the way in which, ... turning suffering into images, harsh and uncompromising though they are, ... wounds the shame we feel in the presence of the victims. For these victims are used to create something, works of art, that are thrown to the consumption of a world which destroyed them. The so-called artistic representation of the sheer physical pain of people beaten to the ground by rifle-butts contains, however remotely, the power to elicit enjoyment out of it. The moral of this art, not to forget for a single instant, slithers into the abyss of its opposite. The aesthetic principle of stylization ... makes an unthinkable fate appear to have had some meaning; it is transfigured, something of its horror removed. This alone does an injustice to the victims; yet no art which tried to evade them could confront the claims of justice." ~ T.W. Adorno
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"The test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise." ~ F. Scott Fitzgerald
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"A photograph is a moral decision taken in one eighth of a second, or one sixteenth, or one one-hundred-and-twenty-eighth. Snap your fingers; a snapshot's faster." ~ Salman Rushdie
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"I cannot find any good use for the term postmodernism. ... I have no idea what is supposed to make a painting, or a novel, or a political attitude, "postmodern." ~ Richard Rorty
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"The greatest obstacle to transforming the world is that we lack the clarity and imagination to conceive that it could be different." ~ Roberto Mangabeira Unger
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"Another world is not only possible, she is on her way. On a quiet day, I can hear her breathing." ~ Arundhati Roy
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[1] "A limited imagination defends itself against recognizing the world as a system of connected vessels; it also is incapable of moving beyond the familiar."
[2] "Great numbers, however, cause particular difficulties for our imagination. As if we observe humanity in a way that is not permitted for humans, and allowed only to gods. ... In other words, they can think in categories of masses. A million people more, a million less - what difference does it make?" ~ Czeslaw Milosz
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"Politics depends, to a great extent, on judging what is actual relative to what is possible. [. . .] However, we have an inherently weak grasp of what is 'possible' and most societies are not set up so as naturally to improve this, or to make us aware of possibilities we may have ignored or taken with insufficient seriousness." ~ Raymond Geuss
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"Start doing the things you think should be done, and start being what you think society should become. Do you believe in free speech? Then speak freely. Do you love the truth? Then tell it. Do you believe in an open society? Then act in the open. Do you believe in a decent and humane society? Then behave decently and humanely." ~ Adam Michnik
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Posts to this blog may contain images and excerpts for the use of which I have not sought prior authorization. Wherever possible I endeavor to provide credit and accurate attribution to authors, artists and copyright holders. All material on this blog is made available for the purpose of analysis and critique, as well as to advance the understanding of politics, political theory and the arts. The ‘fair use’ of such material is provided for under U.S. Copyright Law. In accordance with U.S. Code Title 17, Section 107, material on this site (along with credit links and attributions to original sources) is viewable for educational and intellectual purposes.
I allow comments on nearly all posts. In fact, I encourage comments and usually am happy to offer replies. That said, I will feel free to enforce standards of civility here.
I am completely willing to delete boorish comments ~ e.g., those involving name-calling, cursing, or that are generally disrespectful toward me or other readers. The same goes, especially, for various forms of bigotry. The same goes for comments that are not germane to the post or comment thread.
Except in very rare instances, I do not publish anonymous comments. Experience suggests that unless a reader is willing to identify himself and take responsibility for his views, he too often proves willing to act like an ass. (Apologies for the gendered language, but it seems appropriate in this context.) So, like boorish, anonymous is a more or less direct route to comment oblivion. Life is too short.
I treat this blog like I treat my living room. If you come here and act like an ass, I'll show you the door. And, as is true of my living room (& yours no doubt, too), I am the sole judge of what counts as acting like an ass. Fair warning.
Revised ~ 21 August 2008
