Sense of Location

26Mar12

Wells, Liz. ‘Sense of Location: Topography, Journey, Memory’ (London: I.B.Taurus, 2011) 261-302 p.261 [describing Jem Southam’s ‘River Hayle January 2000’] However, naturalised, this is a landscape that has been subject to extensive human intervention – the markers are there for our information, whether we are physically present, or viewers of photographs which operate in observational […]

Filed under: Anonymity/Authorship & Photography, Books, Essays, Liz Wells, Memory & Context, Memory & Photography, Memory and reconstruction, Observer & the Photograph, Performance & Photography, Photography and Place, Space and photography, Touch/Tactile Perception   |  Leave a Comment

Failing to forget the “Drunken Pirate”

29Jan12

Mayer-Schönberger, Viktor. ‘Failing to forget the “Drunken Pirate”‘ Delete: The Virtue of Forgetting in the Digital Age (Princeton, Oxford: Princeton University Press, 2009) 1-15 p.11 What we sense is the demise of forgetting, and a fundamental shift to the default of remembering. [discussion of Panopticon, ‘a prison in which guards could watch prisoners without prisoners knowing whether […]

Filed under: Analogue - Digital, Books, Forgetting, Memory & Context, Memory and reconstruction, Viktor Mayer-Schönberger   |  Closed

Vals Im Bashir

06May10

One night at a bar, an old friend tells director Ari about a recurring nightmare in which he is chased by 26 vicious dogs. Every night, the same number of beasts. The two men conclude that there’s a connection to their Israeli Army mission in the first Lebanon War of the early eighties. Ari is […]

Filed under: Films, Memory & Context, Memory and reconstruction   |  Leave a Comment

Anne Hardy

10Apr10

Text from http://www.saatchi-gallery.co.uk/artists/anne_hardy.htm Strange, fantastical, and a wee bit unsettling, Anne Hardy’s photographs invite glimpses into imaginary places, each suggesting fictions of a very surreal nature. Working in her studio, Hardy builds each of her sets entirely from scratch; a labour intensive process of constructing a barren room, then developing its elaborate interior down to […]

Filed under: Ambiguity and Photography, Anne Hardy, Installation, Memory & Context, Memory Objects, The Collection   |  Leave a Comment

Lorie Novak: Interiors

14Mar10

Empty rooms are filled with “projections” replaying psychological and emotional events. http://lorienovak.com/

Filed under: Familial relations & Photography, Family album, Identification & Photography, Installation, Lorie Novak, Memory & Context, Memory & Photography, using projection, Vernacular Photography   |  Leave a Comment

Ways of Remembering

10Feb10

Berger, John. ‘Ways of Remembering’ The Camerawork Essays: Context and Meaning in Photography ed. by Jessica Evans (London: Rivers Oram Press, 1997) 42-51 [originally published in 1978] p.42 [After Sontag] A photograph is similar to a footprint or a deathmask. It is a trace of a set of instant appearances. The camera, like the eye, […]

Filed under: Context and photography, Essays, John Berger, Memory & Context, Memory & Photography, Vernacular Photography   |  Leave a Comment

Camera Lucida: Reflections on Photography

23Nov09

p.3 Barthes ‘wanted to learn at all costs what Photography was “in itself,” by what essential feature it was to be distinguished from the community of images. p.4 What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially. p.5 The Photograph is never anything but […]

Filed under: Banality & Photographs, Books, Chemical Photography, Content vs Materiality of Photographs, Familial relations & Photography, Identification & Photography, Melancholy/Death & Photography, Memory & Context, Memory & Photography, Memory Objects, Observer & the Photograph, Personal Responses to Images, Phenomenology, Photograph as Document, Photograph as object, Photography and Unconscious, Photography as Historical Witness, Photography's Art History, Photography's Materiality, Post-photography Theories, Postmodernism and Memory, Roland Barthes, Studium/Punctum, Vernacular Photography   |  Leave a Comment

Ilya Kabakov: Labyrinth (My Mother’s Album)

09Nov09

Labyrinth (My Mother’s Album) is a large-scale installation consisting of a series of narrow corridors leading in a maze-like double spiral. The viewer enters the installation through a door and is lead through progressively shorter corridors at right angles until he or she enters a small space in the centre of the labyrinth. This room, […]

Filed under: Archive & Photography, Family album, Ilya Kabakov, Installation, Memory & Context, Memory & Photography, Memory Objects, Narrative & Photography, using found photography   |  2 Comments

‘fearful ghost of former bloom’: What Photography Is

21Oct09

Batchen, Geoffrey., ‘’fearful ghost of former bloom’: What Photography Is’ Where is the Photograph ed. by David Green (Brighton, Kent: Photoforum, Photoworks, 2003) 15-29 [Batchen discovers a large 19th century photo-object combining hair, waxen flowers, wreath, words and a photograph] p.19 Memory is here given a physical manifestation. Or perhaps it would be more accurate […]

Filed under: Essays, Geoffrey Batchen, Materiality, Melancholy/Death & Photography, Memory & Context, Memory & Photography, Memory Objects, Photograph as object, Photography's Art History, Studium/Punctum, Vernacular Photography   |  Leave a Comment

Read Only Memories

01Sep09

Read Only Memories by Sean Cubitt, in Language and the Subject, edited by Karl Simms, published by Rodopi, 1997. p.207 The sigh of satisfaction that accompanies the conclusion of a novel is also a sigh of nostalgia. For the subjectivity created in the pursuit of closure.is itself premised on a parallel experience of loss. p.208 […]

Filed under: Essays, Memory & Context, Sean Cubitt   |  Leave a Comment