Archive for February, 2016

It’s hard to overestimate he significance of photography in the work (and life) of critic Susan Sontag, perhaps one of the 20th century’s most photographed women. (Sontag spent the final years of her life in a long-term relationship with noted celebrity photographer Annie Liebovitz, who documented her demise from cancer.) To elucidate this subject it might be valid to refer to the work of French art historian, novelist and statesman AndrĂ© Malraux – a figure whose ideas we’ll soon see critiqued in the comparatively recent writings of art historian Douglas Crimp.

musee-imaginaire

AndrĂ© Malraux with his “Museum Without Walls,” 1950

One of Malraux’s very first texts, a 1922 preface to an exhibition catalog, already presents this notion of art as a vast semiotic system, a multiple chorus of meaning. In it Malraux had written: “We can feel only by comparison. He who knows Andromaque or Phedre will gain a better idea of the French genius by reading A Midsummer Night’s Dream than by reading all the other tragedies by Racine.

– Rosalind E. Krauss

In particular, one thinks of Malraux’s concept of the “Museum without Walls”. Taking the form of an enormous book, Voices of Silence, this museum was more properly to be understood as a strictly ideal space in which art works from multiple cultures and historical periods would be reduced to weightless and isolated photographic images, thus allowing for a free-association and comparison of a vast catalog of works in various media. Not that it makes strict sense, but my impression is that Wimsatt & Beardsley’s criticism is essentially an similar attempt to reduce all poems to pure data, disembodied word images.

Simone de Beauvoir, Jean-Paul Sartre, Che Guevara

If you think about it, photography, which reduces all of life and culture to documents, presents itself as the most anonymous, intentionless and affectless medium – that medium which, even more than language was for Shelley, is no medium at all, and consequently the very best medium to function as the “universal” medium through which to convert a host of culturally specific works of art into to a large-scale display of “global” culture. Photography converts the work of art into a sign, and the sign, like the commodity in Marx, obeys the law of universal equivalency and exchangeability. Or so Jean Baudrillard taught in his For A Critique of The Political Economy of The Sign.

CheHigh

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