Civil Imagination: A Political Ontology of Photography, by Ariella Azoulay
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Civil Imagination: A Political Ontology of Photography, by Ariella Azoulay
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Understanding photography is more than a matter of assessing photographs, writes Ariella Azoulay. The photograph is merely one event in a sequence that constitutes photography and which always involves an actual or potential spectator in the relationship between the photographer and the individual portrayed. The shift in focus from product to practice, outlined in Civil Imagination, brings to light the way images can both reinforce and resist the oppressive reality foisted upon the people depicted.Through photography, Civil Imagination seeks out relations of partnership, solidarity, and sharing that come into being at the expense of sovereign powers that threaten to destroy them. Azoulay argues that the “civil” must be distinguished from the “political” as the interest that citizens have in themselves, in others, in their shared forms of coexistence, as well as in the world they create and transform. Azoulay’s book sketches out a new horizon of civil living for citizens as well as subjects denied citizenship—inevitable partners in a reality they are invited to imagine anew and to reconstruct.Beautifully produced with many illustrations, Civil Imagination is a provocative argument for photography as a civic practice capable of reclaiming civil power.
Civil Imagination: A Political Ontology of Photography, by Ariella Azoulay- Amazon Sales Rank: #1237052 in Books
- Published on: 2015-10-13
- Released on: 2015-10-13
- Original language: English
- Number of items: 1
- Dimensions: 9.24" h x .87" w x 6.08" l, .81 pounds
- Binding: Paperback
- 288 pages
Review “This remarkable book enhances Ariella Azoulay’s position as the most compelling theorist of photography writing today. Photography, she argues, must be understood as a collective event in which vision, speech and action are intertwined and inseparable from ongoing global struggles between sovereign violence and civil society.”—Jonathan Crary, Meyer Schapiro Professor of Modern Art and Theory, Columbia University “This book is a major intervention in the field of political philosophy, visual cultures, photography and architecture. The new ontology of photography developed by Azoulay builds upon, but also decisively challenges, articulated relations between the aesthetic and the political from Kant through Benjamin, Arendt and Rancière. Here, Azoulay uses her theory to suggest an alternative politics based on the re-reading and reinterpretation of photographs of the Nakba in 1948 and of the architecture of the Israeli occupation since 1967. Civil Imagination is nothing less than a proposal for a new form of politics now made ever more relevant throughout the Middle East.”—Eyal Weizman, author of Hollow Land and Least of All Possible Evils “Takes on the state of our contemporary visual culture and takes aim at the many received ideas that march under the banner of ‘art and politics.’”—The Brooklyn Rail “Both an extremely demanding text that attempts a new articulation of the category of the ‘civil’ and a sophisticated photographic essay … The result here is a powerful index of catastrophe and a meditation on the effects on both Israeli and Palestinian of an insidious and coercive colonial ideology.” —John Douglas Millar, Art Monthly “Civil Imagination acts as a necessary yet cruel reminder that an uncritical relationship with the social idea of photography could easily determine whose life is not worthy of living.”—Gil PasternakFrom the Hardcover edition.
About the Author Ariela Azoulay teaches political thought and visual culture at Brown University.From the Hardcover edition.
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3 of 3 people found the following review helpful. gives us a why By Love Thy Enemy Sontag rendered a certain typically lower Manhattan arrogant disdain for the miraculous art and science of photography fashionable in her On Photography and elsewhere, setting the tone for other critics to poopoo this most verisimilitudonous yet (particularly in the post-Adobe Photoshop age) potentially deceptive art. In her later writing, The Civil Contract of Photography this precise, scholarly and insightful author, Ariella Azoulay, most directly addresses the points raised by Sontag and others. Here the simple summary of those points reveals their parochial limitations, followed by their transcendence in the deepest meaning of applied photography.In particular Azoulay's revelation of Hannah Arendt's angry dismissal of the powerful series of photograph's of a black girl walking home with quiet dignity through jeering white masses after integrating the high school in Little Rock shows that critique as sneering through a scholarly veneer, without Azoulay needing to waste time explicitly to say this. Rather Azoulay takes us further to explore other, present applications equally as compelling, equally as meaningful, even more deadly than this offense to dignity.Azoulay therefore begins with a general thorough applied philosophy of photography, with examples, and ever more precisely focuses on the most pressing and hidden application of our times, the total destruction of Palestine. Her presentation remains undeniable, scholarly, indispensable, and must be read.My one qualm lies in the poor reproduction of the photographs in this volume, which, reprinted on the text pages, come across as cloudy and rather indistinct, whereas they are the central loci of Azoulay's thesis. I wish the publisher had printed these essential photographs on separate glossy pages in order to study them carefully as intended.Azoulay in brief presents a compelling case for photography in fully examining the phenomena of sight, of vision, of shared vision, of participation of the viewer with the photographer, and of the content which is seen. We with cameras (which now includes nearly anyone with a phone) are given not only WHY but also a great burden and responsibility to record, and to publish, the injustice and suffering we see.Those of us dismayed and discouraged by the formidable title in itself must not fear, but read this eminently readable text throughout. An ontology is the nature of being; a political ontology of photography reveals how photography is political, and how civil. Azoulay gently, carefully, thoroughly and very readably leads us through these intimidating waters, and the translation by Louise Bethlehem is excellent in reflecting the clarity of the text.Please read. Any photographer finding this, our great art and burdensome responsibility of faithfully reproducing reality, must take heart in this wonderful revelation, that what we are striving to accomplish has meaning, despite Sontag calling us a violation, and that what we do expands the human consciousness and compels others to action for peace, for justice, for truth, for compassion. We who work so hard to reflect reality find ourselves considered here a portal to empathy, and not the apart abomination so easily dismissed in the Sontag school.I urge you truly to read this book.
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