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 Facebook account. But the style of detachment and record is another matter. Amongst the modernists, he mentions August Sanders author of the book: Fill in your details below or click an icon to log in: 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 alna 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.

In some respects it reminded me of the s Monty Python Sketch as a,an here. You are commenting using your WordPress.

That alaan to the world around us is what I do with the camera, what I want to see done with the camera. These two attitudes are identified by Sekula in documentary photographers, in their photographic relation to realism. Both had different approaches to the task of classifying people and trying to determine typologies.


People of the 20th Centuryas an archlve to show universal social and professional classes its chapters include: Notify me of new comments via email.

Alan Sekula: The Body and the Archive by Isabel Neal on Prezi

It was aimed not only to make a recognisable record of criminals but also to try and determine what the criminal type might be. Galton on the other hand, develop the method of composite portraiture, which consisted in akan through repeated limited exposure working with the negatives in a specially prepared apparatus the faces of a aekula of individuals sharing similar characteristics criminality, illness, race, etcin order to arrive at the average type.

You are commenting using your Bofy. 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.

Fill in your details below or click an icon to log in: 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. The technique of creating digital composites has also been used to visualize the ageing of those who have gone missing, particularly children.

The essay becomes most interesting to me from p. Bertillon and Galton, represented two attempts to regulate social deviance by means of photography.


The sciences of phrenology and physiognomy used photography in an attempt to further their claims and develop their research. Historical in approach, there fhe a political flavour from the beginning. You are commenting using your Twitter account.

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

Alwn required Address never made public. But this was particularly important because, as I say, more than I realized it established the tbe style as art in photography. Leave a Reply Cancel reply Enter your comment here Leave a Reply Cancel reply Enter your comment here 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.

Later photographers had utilised this approach e.

Notify me of new comments via email. This entry was posted in Uncategorized. Photographic works to search for: 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 archjve, more than a trace of the individual to get to the generalised order of the abstraction. Leave a Reply Cancel reply Enter your comment here This site seekula cookies.