"Ariella Azoulay makes a simple and profound claim. Every photograph bears the traces of the encounter between the photographer and the photographed, and neither party can ultimately control that inscription nor determine what happens to those traces. The photograph, she tells us, fixes nothing and belongs to no one. This untethering of photography from responsibility, at least in its traditional sense, allows her to approach the ethics and politics specific to photography in a completely new way. Even or especially when it is a photograph of a crime or an injustice, a photograph is more than evidence. It imposes another sort of obligation on us, to address and readdress it in a way that challenges what it shows of our life together. Azoulay's breathtaking book finally demands nothing less of us than to reimagine how, in the age of the photograph, we might become citizens again."--- Thomas Keenan, Human Rights Program, Bard College -- Thomas Keenan "Ariella Azoulay makes a simple and profound claim. Every photograph bears the traces of the encounter between the photographer and the photographed, and neither party can ultimately control that inscription nor determine what happens to those traces. The photograph, she tells us, fixes nothing and belongs to no one. This untethering of photography from responsibility, at least in its traditional sense, allows her to approach the ethics and politics specific to photography in a completely new way. Even or especially when it is a photograph of a crime or an injustice, a photograph is more than evidence. It imposes another sort of obligation on us, to address and readdress it in a way that challenges what it shows of our life together. Azoulay's breathtaking book finally demands nothing less of us than to reimagine how, in the age of the photograph, we might become citizens again." Thomas Keenan , Human Rights Program, Bard College
Ariella is Assistant Professor of Comparative Literature and Modern Culture and Media at Brown University and the author of Death's Showcase: the Power of Image in Contemporary Democracy (MIT Press).
... Azoulay's central themes—state violence, violations of human
rights, and the nature and potential of photographic witness—are as
relevant to our own political circumstances as they are to
hers.
*Abigail Solomon, Godeau Art in America*
... this is a significant, deeply moral book that should undercut
complacent thinking. Azoulay's renewal of cultural attention to the
state and her view of photography that requires us to dispute
prevailing interpretations of evidence must surely be welcomed as
we are, once again, thrown headlong back to reality.
*Times Higher Education*
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