', 'I haven't been everywhere, but it's on my list. All trademarks and registered designs on Yatesweb and Mick Yates Photography are the property of their owners. ‘The whole of a life may be summed up in a momentary appearance. ‘Unlike the fine-art objects of pre-democratic eras, photographs don’t seem deeply beholden to the intentions of an artist. Contextual Research Susan Sontag was an American writer, filmmaker, and critic. (pg. ‘A photograph is not just the result of an encounter between an event and a photographer; picture-taking is an event in itself, and one with ever more peremptory rights – to interfere with, to invade, or to ignore whatever is going on. (pg. “But the very question of whether photography is or is not an art is essentially a misleading one. 67). 409 likes. …………………………….. Header: Jill Krementz. (pg. Susan Sontag Quotes A collection of thoughts and quotes by Susan Sontag media, culture, AIDS, photography, ideology, human-rights, illness, intelligence and activist. (pg. The less doctored, the less patently crafted, the more naive – the more authoritative the photograph was likely to be‘. The photographer is supertourist, an extension of the anthropologist, visiting natives and bringing back news of their exotic doings and strange gear‘. 122). 129). “On … Although much of Arbus's material is the same as that depicted in, say, Warhol's, “Time eventually positions most photographs, even the most amateurish, at the level of art.”, “As objects of contemplation, images of the atrocious can answer to several different needs. Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder - a soft murder, appropriate to a sad, frightened time.”, “Today everything exists to end in a photograph.”, “Photographs are a way of imprisoning reality...One can't possess reality, one can possess images--one can't possess the present but one can possess the past.”, “The painter constructs, the photographer discloses.”, “Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted. ‘Strand and Weston, who both acknowledge a similarity between their ways of seeing and those of Kandinsky and Brancusi, may have been attracted to the hard edge of Cubist style in reaction to the softness of Stieglitz’s images‘ (pg. A touch of the finger now suffices to invest a moment with posthumous irony‘. 122). (The sales pitch for the first Kodak, in 1888, was: ‘You press the button, we do the rest‘)’. (pg. I must take a photograph of it’. Even if someone did say that, all it would mean is: ‘I find that ugly thing … beautiful‘. (pg. 51 Copy quote. ‘For Baudelaire, photography was painting’s ‘mortal enemy’; but eventually a truce was worked out, according to which photography was held to be painting’s liberator‘. 162). ‘And no reality is exempt from appropriation, neither one that is scandalous (and should be corrected) nor one that is merely beautiful (or could be made so by the camera). My critique: I think Susan Sontag hates photography. ‘The traditional fine arts rely on the distinction between authentic and fake, between original and copy, between good taste and bad taste; the media blur, if they do not abolish outright, these distinctions. Time eventually positions most photographs, even the most amateurish, at the level of art‘. In On Photography, Susan Sontag discusses what she believes photography does to society in the modern day. Unsure of other responses, they take a picture. 90). Industrial societies turn their citizens into image-junkies; it is the most irresistible form of mental pollution.”, “to take a photograph is to participate in another person's mortality, vulnerability, mutability. SONTAG, Susan. Of course, this modern day was the 1970's, but many of the key elements described in the collection of essays still remain relevant. 178). (pg. 55). Books of photography pile higher and higher – measuring the lost past (hence, the promotion of amateur photography), taking the temperature of the present. (pg. “Today everything exists to end in a photograph.”. ‘Surrealism in painting amounted to little more than the contents of a meagerly stocked dream world: a few witty fantasies, mostly wet dreams and agoraphobic nightmares‘. FMP Critical Review 14). 62). More Susan Sontag Quotes. (pg. ‘Whereas the painter, according to Weston, has always ‘tried to improve nature by self-imposition’, the photographer has ‘proved that nature offers an endless number of perfect compositions’ – order everywhere‘. 62). ‘But essentially the camera makes everyone a tourist in other people’s reality, and eventually in one’s own‘. (pg 55). (pg. Capitalist society requires a culture based on images. ‘It is not reality that photographs make immediately accessible, but images. (pg. Not waiting for inspiration's shove or society's kiss on your forehead. ‘The further back we go in history, as E. H. Gombrich has observed, the less sharp is the distinction between images and real things; in primitive societies, the thing and its image were simply two different, that is, physically distinct, manifestations of the same energy or spirit‘. (pg. Susan Sontag’s fame was always paradoxical. I have thus decided to put them all in one place, for future reference. Ideally, the photographer was able to make the two realities cognate, as illustrated by the title of an interview with Hine in 1920, Treating Labor Artistically‘. ‘Nobody exclaims, ‘isn’t that ugly! (pg. (pg. To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them they can never have; it turns people into objects that can be symbolically possessed‘. ‘Photography reinforces a nominalist view of social reality as consisting of small units of an apparently infinite number …‘. ‘Jack Kerouac begins his introduction to Robert Frank’s book The Americans: That crazy feeling in America when the sun is hot on the streets and music comes out of the jukebox or from a nearby funeral, that’s what Robert Frank has captured in these tremendous photographs taken as he travelled on the road around practically forty-eight states in an old used car (on Guggenheim Fellowship) and with the agility, mystery, genius, sadness and strange secrecy of a shadow photographed scenes that have never been seen on film … After seeing these pictures you end up finally not knowing any more whether a jukebox is sadder than a coffin‘. ‘They kept a long, prudent distance from Surrealism’s contentious idea of blurring the lines between art and so-called life, between objects and events, between the intended and the unintentional, between pros and amateurs, between the noble and the tawdry, between craftsmanship and lucky blunders‘. Sontag’s intellectually vicious attacks on Diane Arbus are a case in point. 118). 147). (pg. Insofar as photography is (or should be) about the world, the photographer counts for little, but insofar as it is the instrument of intrepid, questing subjectivity, the photographer is all‘. (pg. (pg. It made no sense that a writer publishing in the so-called little magazines, like Partisan Review and the New York Review of Books, on topics like structuralist philosophy or the history of interpretation, could cross over to become a major literary star. Social misery has inspired the comfortably-off with the urge to take pictures, the gentlest of predations, in order to document a hidden reality, that is, a reality hidden from them, The flâneur is not attracted to the city’s official realities but to its dark seamy corners, its neglected populations, an unofficial reality behind the facade of bourgeois, The FSA project, conceived as ‘pictorial documentation of our rural areas and rural problems’ (Stryker’s words), was unabashedly propagandistic. ‘The immensely gifted members of the Farm Security Administration photographic project of the late 1930s (among them Walker Evans, Dorothea Lange, Ben Shahn, Russell Lee) would take dozens of frontal pictures of one of their sharecropper subjects until satisfied that they had gotten just the right look on film—the precise expression on the subject’s face that supported their own notions about poverty, light, dignity, texture, exploitation, and geometry. Now all art aspires to the condition of photography‘. In fact, it is the one art that has managed to carry out the grandiose, century-old threats of a Surrealist takeover of the modern sensibility, while most of the pedigreed candidates have dropped out of the race‘. (pg. Even though Sontag later refuted many of her own ideas, the remains influential. 57). Photography has always been fascinated by social heights and lower depths. The photograph is not, even ostensibly, meant to lead us back to an original experience‘. As usual, when I am thinking of pursuing something, I turn to books. For example, now all adults can know exactly how they and their parents and grandparents looked as children – a knowledge not available to anyone before the invention of cameras, not even to that tiny minority among whom it was customary to commission paintings of their children‘. Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted‘. The book assembles six essays originally published between 1973 and 1977 in the New York Review of Books. (pg 62). 4 Sustainable Prospects Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.”, “To photograph people is to violate them, by seeing them as they never see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed. 11). ― Susan Sontag. ‘As if to refute the fact that many superb pictures are by photographers devoid of any serious or interesting intentions, the insistence that picture-taking is first of all the focusing of a temperament, only secondarily of a machine, has always been one of the main themes of the defense of photography. On Photography began with a single essay in which Susan Sontag wanted to explore some of the problems, both aesthetic and moral, presented by the omnipresence of photographed images in … (pg. (pg. 154). 149). ‘For Moholy-Nagy the genius of photography lies in its ability to render ‘an objective portrait: the individual to be photographed so that the photographic result shall not be encumbered with subjective intention‘. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. 1970) world. (pg. In the book, Sontag expresses her views on the history and present-day role of photography in capitalist societies as of the 1970s. ‘Photography has the unappealing reputation of being the most realistic, therefore facile, of the mimetic arts. The sublimity of color in Hodgkin's pictures can be thought of as, first of all, expressive of gratitude for the world that resists and survives the ego and its discontents. ‘Surrealism lies at the heart of the photographic enterprise: in the very creation of a duplicate world, of a reality in the second degree, narrower but more dramatic than the one perceived by natural vision. Among these, she contrasts Diane Arbus's work with that of Depression-era documentary photography commissioned by the Farm Security Administration. IC Oral Presentation ‘The photographer both loots and preserves, denounces and consecrates. Share with your friends. 5 Final Major Project, IC Critical Review The photographer is an armed version of the solitary walker reconnoitering, stalking, cruising the urban inferno, the voyeuristic stroller who discovers the city as a landscape of voluptuous extremes. New York: Anchor Books. Hobbesian man roams the streets, quite visible, with glitter in his hair.”. And a change in appearances is a change in the person, for he refused to posit any ‘real’ person ensconced behind these appearances‘. Her Dantesque vision of the city (and the suburbs) has no reserves of irony. I applaud the fact that they ‘take a view’, rather than sitting on the sidelines. Susan Sontag. ‘As Berenice Abbott writes: ‘The photographer is the contemporary being par excellence; through his eyes the now becomes past’. It connects you with others. 103). Out of language, one can make scientific discourse, bureaucratic memoranda, love letters, grocery lists, and Balzac's Paris. 173). (pg. I read a few articles about photography and finally, Susan Sontag’s superb essays On Photography. (pg. ‘Photography, which has so many narcissistic uses, is also a powerful instrument for depersonalizing our relation to the world‘. To take a photograph is to participate in another person's mortality, vulnerability, mutability. ‘Traveling between degraded and glamorous realities is part of the very momentum of the photographic enterprise, unless the photographer is locked into an extremely private obsession (like the thing Lewis Carroll had for little girls)‘. The media are essentially contentless (this is the truth behind Marshall McLuhan’s celebrated remark about the message being the medium itself); their characteristic tone is ironic, or dead-pan, or parodistic. The camera's twin capacities, to subjectivise reality and to objectify it, ideally serve these needs as strengthen them. Susan Sontag — "Photographic Evangels", p. 147 (pg. (pg. (pg. 63). FMP Final Submission, mick yates – portrait, events, documentary & street. 64). Available at: https://observer.com/2014/12/to-do-friday-and-saturday-night-see-susan-sontag-documentary/ (accessed 101/04/2019). (pg. Part of an accredited education programme FMP Project Proposal Please respect the copyright of all external materials, used for educational purposes only. As everything she wrote, Susan Sontag's book on photography is brilliant. ‘Photographs make normative an experience of art that is mediated, second-hand, intense in a different way‘. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt. 91). CHAPTER 1 CRITIQUE (Plato’s Cave) I’m always suspicious of thinkers who always invoke the Plato Cave analogy (I’m with Nietzsche in […] People are ransacking their attics and the archives of city and state historical societies for old photographs; ever more obscure or forgotten photographers are being rediscovered. The narrowing of free political choice to free economic consumption requires the unlimited production and consumption of images.”, “Most of Arbus's work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn't have the Warhol style. 74). ... — Susan Sontag Although the activities of some photographers conform to the traditional notion of a fine art, the activity of exceptionally talented individuals producing discrete objects that have value in themselves, form the beginning photography has also lent itself to that notion of art which says that art is obsolete. Photography is a great hobby. MA Photography, Falmouth University, A personal response to the Khmer Rouge Genocide of 1975-1979, Unfinished Stories of Cambodia, Falmouth MA CR Journal And, being hidden, is something to be unveiled‘. ‘Some photographers set up as scientists, others as moralists. Like language, it is a medium in which works of art (among other things) are made. (pg. Social change is replaced by a change in images. My overriding impression from Sontag and Barthes is a rather antipathetic view towards photography, which constantly dogs the literature. S&S Work in Progress, FMP Pecha Kucha ‘The pious uplift of Steichen’s photograph anthology and the cool dejection of the Arbus retrospective both render history and politics irrelevant. Cameras define reality in the two ways essential to the workings of an advanced industrial society: as a spectacle (for masses) and as an object of surveillance (for rulers). 33). In deciding how a picture should look, in preferring one exposure to another, photographers are always imposing standards on their subjects‘. See more ideas about susan sontag, susan, writer. (pg. There is probably no subject that cannot be beautified; moreover, there is no way to suppress the tendency inherent in all photographs to accord value to their subjects‘. The sense of the unattainable that can be evoked by photographs feeds directly into the erotic, “To collect photographs is to collect the world.”, “The photographer is now charging real beasts, beleaguered and too rare to kill. The freedom to consume a plurality of images and goods is equated with freedom itself. Although photography generates works that can be called art --it requires subjectivity, it can lie, it gives aesthetic pleasure-- photography is not, to begin with, an art form at all. To make oneself more numb. Images anesthetize.”. Photographs furnish instant history, instant sociology, instant participation‘. This is still the aim of most amateur photographers, for whom a beautiful photograph is a photograph of … ‘… that a society becomes ‘modern’ when one of its chief activities is producing and consuming images‘. Quite frankly, I am not a fan of Susan Sontag. Photography expresses the American impatience with reality, the taste for activities whose instrumentality is a machine. ‘The history of photography could be recapitulated as the struggle between two different imperatives: beautification, which comes from the fine arts, and truth-telling, which is measured not only by a notion of value-free truth, a legacy from the sciences, but by a moralized ideal of truth-telling‘. Any collection of photographs is an exercise in Surrealist montage and the Surrealist abbreviation of history‘. Falmouth MA Research, Coursework And to have one’s judgement of an entire genre of work (atrocity photography) coloured solely by one’s childhood fears is, well, the work of an amateur. Like a wood fire in a room, photographs—especially those of people, of distant landscapes and faraway cities, of the vanished past—are incitements to reverie. For the most part, she describes the relationship between photography and capitalism in society. But when we are nostalgic, we take pictures.”. 122). Susan Sontag’s essays on difficult European writers, avant-garde film, politics, photography, and the language of illness embodied the probing intellectual spirit of the 1960s. (pg. 1974. 100). 12). The purpose of the project was to demonstrate the value of the people photographed. Interpretation is the revenge of the intellect upon art. (pg. (pg 6). Images transfix. ‘To photograph is to confer importance. 173). P&P Proposal Pay attention. Vroman’s handsome photographs are unexpressive, uncondescending, unsentimental. The flâneur is not attracted to the city’s official realities but to its dark seamy corners, its neglected populations, an unofficial reality behind the facade of bourgeois‘. Once one has seen such images, one has started down the road of seeing more - and more. Susan Sontag’s On Photography, “In Plato’s Cave” Summary | Nude Answers 2016 In-text: (Susan Sontag’s On Photography, “In Plato’s Cave” Summary | Nude Answers, 2016) Just a moment while we sign you in to your Goodreads account. (pg. (pg. !function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)? (pg. (pg. Terms and conditions are here. It's all about paying attention. (pg. It can also corrupt them. 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