#allan sekula

[castle-wall]

[garadinervi]

Ian Burn: Collected Writings 1966–1993, Edited by Ann Stephen, Power Publications, Sydney / KW Institute for Contemporary Art, Berlin / Verlag der Buchhandlung Walther und Franz König, Köln, 2024 [BOOKS at, Amsterdam]

Contributors: Art & Language, Adrian Piper, Paul Wood, Allan Sekula, and Mel Ramsden

Design: Robert Milne

Ian Burn. Collected Writings 1966–1993, Curated by Robert Milne, BOOKS at, Amsterdam, April 13 – May 3, 2024 Plus: Postcard, Works List, Invitation, Pamphlet

[thephotoregistry]

Untitled Slide Sequence, 1972

Allan Sekula

[coldcanyon]

from Fish Story by Allan Sekula . . . shot 1992, Koreatown, Los Angeles

(via the Internet Archive)

[fashionbooksmilano]

Anni '70

Fotografia e vita quotidiana

Testi di: Sérgio Mah, Paul Wombell, Susan Sontag, Allan Sekula, John Berger, Victor Burgin, Roland Barthes

SilvanaEditoriale, Cinisello Balsamo 2009, 303pagine, 22,3x28,8cm, 200 illustrazioni a colori, ISBN 9788836614226

euro 40,00

email if you want to buy booksinprogressmilano@yahoo.it

Sassari, Museo dell'arte del Novecento e del Contemporaneo, 24 ottobre, 2009 - 17 gennaio, 2010.

Una grande retrospettiva dedicata alla fotografia degli anni settanta, uno dei periodi più importanti e fecondi nella storia recente di questa disciplina.

Il catalogo che accompagna la mostra - già ospitata in Spagna e attesa in autunno in Italia -, ripropone i lavori di oltre venti artisti internazionali, fra i quali Alberto García- Alix, Christian Boltanski e Cindy Sherman, che, negli anni settanta, hanno intrapreso strade diverse di ricerca, riflettendo in particolare modo sulla rappresentazione del daily life, della vita di tutti i giorni. Uno degli aspetti più interessanti di questo periodo infatti è proprio il nuovo ruolo assunto dal mezzo fotografico per rappresentare uno spaccato della società, che negli stessi anni diventa oggetto di indagine da parte di altre discipline artistiche. In particolare, il rinnovato interesse verso la fotografia che emerge in questi anni deriva dall'altrettanto rinnovato interesse verso l'idea di documento o di stile documentario, quale modalità privilegiata per rappresentare legittimamente la realtà, in grado quindi di offrire testimonianza vera dei cambiamenti socio politici avvenuti o in atto. Questo atteggiamento ha portato, gradualmente, a proporre un nuovo punto di vista sulla realtà, suggerendo nuove dinamiche e interazioni fra sfera sociale, mondo privato e arte: un'eredità che proprio la fotografia degli anni settanta ha lasciato alle generazioni seguenti.

21/12/23

[ueucartography]

Allan Sekula, from Attempt to Correlate, 1975–2011.

[archivalstories]

THE INSTRUMENTAL IMAGE: STEICHEN AT WAR by Allan Sekula

Full essay here

[sarahrserfati]

Marisa Olson on Postinternet: Art After the Internet

"I also feel that postinternet artistic practices (as opposed to everyday postinternet material culture) have not only a special kind of rel-evance or currency, but that they are also part and parcel of an as-yet unspoken, totalizing, near-universalset of conditions that applies to all art as much as it implicates all art in transporting the network conditionsunder which we live. This is a brisk responsibility ripe with opportunity, though many artists will undoubtedly fail or elect not to recognize and exercise it" ...

"As I initially conceived it, the descriptor postinternet encapsulates an image philosophy. If we want to splithairs about it, we could call it a post-ekphrastic imagephilosophy – one that comes after the understanding that images are capable of not only illustrating anddescribing, but also theorizing themselves, even ontheir own terms; even as they bring themselves into resolution for the first time. For now, academies are slow to discover, socially- contract to accept, and begin churning-out so-calledseminal texts on by-then-dated artwork. Scholars forbid or aggressively dissuade their pupils from writing about hitherto unknown (i.e. pre-canonized) artists,which halts progress, stunts egos, and flagellates thenotion of original research, even as it traditionallypurports to call for it. The terribly good news (orwonderfully awful news) is that the academy as weknow it is plunging into a state of unsustainability –not leastly because of its inability to respond to the socio-economic conditions concomitant with network culture. Meanwhile, as a defense mechanism to thisprohibition on contemporary thinking, we scurry toinvent epistemological trajectories – drawing lines between charted points in a constellation and sounding-out echoes in the space of contemporary practice. I believe it is as much this defense mechanism as it is an overlapping set of aesthetic concerns or formal traitsthat has landed us the photo → film → new media storyline most widely recited today. Afterall, there are other realist media to which new media could easily be compared rather than contrasted."

...

"The postinternet is a moment, a condition, a property, and a quality that encompasses and transcends newmedia. Under this rubric, we should say of the inter-net what Allan Sekula said of photography, in Reading an Archive; that is, ‘We need to understand howphotography works within everyday life in advancedindustrial societies : the problem is one of materialist cultural history rather than art history.’ This is one placein which the arc from photography to the internet holds. Artistic practice within the two media are not the only practices possible under these scopic regimes. While art is not exclusive of such things, the media ecologiesunder scrutiny here are also the site of a vast array of commercial, political, libidinal, economic, and rhetorical functions. It seems almost trite to point this out, given that Walter Benjamin schooled us on the collapse of auratic distance, in mechanical reproduction, so longago, but I’ll say that, by the same token, art made within these spheres sadly continues to be dismissed as merely vernacular, as seemingly-excess, or as weak because ofits (however mythical) origin in the everyday. As Boris Groys laments (‘On the New,’ 2002), ‘only the extraordinary is presented to us as a possible object of our admiration;’ while I might argue that this relatability is, in fact, a reason to celebrate such work"

...

"So what does postinternet art taste like, the aesthetician might ask? The sense-experience of art that is postinternet, that is made and distributed within the postinternet, or that we might say is of the postinternet era, is an art of conspicuous consumption (Cf. Marisa Olson, ‘Lost Not Found’). By sheer virtue of making things, the critically self-aware internet user makes postinternet art. These may or may not have the look and feel of Lonergan’s ‘objects that aren’t objects.’ Afterall, Vierkant quite astutely pointed out that ‘Postinternet objects and images are developed with concern to their particular materiality as well as their vast variety of methods of presentation and dissemination."

Notes: I love this paper, it explains that postinternet art has one formal quality; that it is postinternet (Awake to the network). Olson also brings up in the final page a quote from Vierkant that brings up a vital quality of postinternet art- the availability of many forms of dissemination, which is foundational in a printmaking context.

[cristovaopeixoto]

#1.2 Projeto de Referência

Fish Story - Allan Sekula

[gblostatsea]

Exerpt from FILM+PLACE+ARCHITECTURE journal call for proposals

Good references for links between water, cartography and the built environment.

“From Gilles Deleuze’s notion of perceptual liquidity, to the films of Marguerite Duras, water shores up questions of form, materiality, and perception in film. In Isaac Julien’s immersive film installation Ten Thousand Waves (2010), water not only informs its oceanic images, but also the design of the filmic exhibition space. At the same time, in mediating bodies of water, film can draw our attention to their role in structuring urban, cultural, and geopolitical spaces. For instance, London’s radical regeneration of its waterways and waterfronts has been represented in a variety of films and art projects about different areas: the Docklands in Derek Jarman’s The Last of England (1987); the Lea River Valley in Conrad Shawcross’s Pre-Retroscope V (2008); and the Thames Estuary in Andrew Kötting’s Swandown (with Iain Sinclair, 2012). In Atlas of Emotion: Journeys in Art, Architecture, and Film, Giuliana Bruno traces the influence of such nautical and fluvial cartography on early cinema’s mapping of urban space - its representation of the city in motion.

In The Lottery of the Sea (2006) and The Forgotten Space (2010), Allan Sekula explores the maritime industry as basis of global capitalism, calling attention to the sea’s material forces of resistance. Today, the waters of the Mediterranean and the Channel form the backdrop to the migrant crisis, as powerfully evoked in Gianfranco Rosi’s Fire at Sea (2016). In Verena Paravel and Lucien Taylor’s Leviathan (2012), the ocean is a sensory cosmos where fish, water, and vessels meet in the fiercest of ways. The ecological crisis facing the world’s oceans – as well as other aquatic environments – points to the urgency in (re)thinking the human relationship to ponds, rivers, and seas.”

[karync]

Allan Sekula The Body and the Archive (Notes from the Reading)

Allan Sekula The Body and the Archive 

Allan Sekula author is a photographer

The sheer range and volume of photographic practice offers ample evidence of the paradoxical status of photography within bourgeois culture

Talks about concept of “the other”

Photography is “a system of representation capable of functioning both honorifically and repressively”

Photography threatens to overwhelm the citadels of high sculpture 

Photography is modernity run riot

Promises an enhanced master of nature but also threatens conflagration and anarchy 

We are confronting, then, a double system : a system of representation capable of functioning both honorifically and repressively 

Photography can be used both honorifically and repressively at the same time 

Most evident in photographic portraiture 

Photographic portraiture extends, accelerates, popularizes, and degrades a traditional function

This function has taken its early modern form in the seventeenth century

There are beneficial aspects of photographic portraiture for the working class

Helps preserve family memories

Photography introduced a new hierarchy of taste

Photographic portrait implicitly took place within a social and moral hierarchy

Photographic portrait is the shadow archive that contains both the visible bodies of heroes, leaders, moral exemplars, celebrities, poor, diseased, insane, criminal, nonwhite, female, and unworthy

Archive establishes and delimits the ground of “the other”

Early system of photography used to identify criminals

Photography used for phrenological analysis 

Used for evidence

Photography is visual so thought to be sensory evidence

Seen as more valuable 

Physiognomy provided discursive terrain which art and emerging bio-social sciences met during middle of the nineteenth century

Our problem as artists and intellectuals living near but not at the center of a global system of power will be to help prevent cancellation of that testimony by more authoritative and official texts

[phantomtutor]

SOLUTION AT Academic Writers Bay read the 3 readings attached Allan sekula is one reading separated into two. And answer the question for each reading   “CUSTOM PAPER” CLICK HERE TO GET A PROFESSIONAL WRITER TO WORK ON THIS PAPER AND OTHER SIMILAR PAPERS CLICK THE BUTTON TO MAKE YOUR ORDER

[sesiondemadrugada]

Allan Sekula.

[joeinct]

Untitled, Photo by Allan Sekula, 1973

[quo-usque-tandem]

Waiting for Tear Gas by Allan Sekula