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W(est) B(ank)
What am I doing on the roof of my car, smashed on the platform from where 'it is sweet to stand and see, from the safe and distant shore, others in distress amidst billows and raging gales; not drawing delight from another's misfortune, but rejoicing over being spared such desperation*'? Doubtless as an artist, I am at war, too - Sophie Ristelhueber (*excerpt from Lucretius, De Rerum Natura, II, 1-4) In her intensely personal yet objectively restrained photographs, Sophie Ristelhueber embraces and records the scars of human existence. 'I have these obsessions that I do not completely understand, with the deep mark, with the ruptured surface, with scars and traces, traces that human beings are leaving on the earth', she says. She transcends the turmoil and specificity of a location and creates art without limits of time and identity through photographs that are haunting, provocative and telling. Ristelhueber's photographs only ever carry evidence of human activity, never images of people themselves: it is through the absence of life that she manages so profoundly to address life's fragile presence.
Sophie Ristelhueber
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Sophie Ristelhueber - Fait : Koweit 1991
Text by Marc Mayer, Jeffrey Ladd.
Sophie Ristelhueber
Essay by Cheryl Brutvan.
Operations
In Sophie Ristelhueber's large-scale artworks and installations, the photographed landscape appears in fragments: damaged, rent, pockmarked. These traces of history and conflict, which the artist calls 'details of the world', are like scars on a body, and they convey a similar tale of wounds scarcely healed. Ristelhueber has photographed these metaphorical landscapes in war-torn places like Beirut, Kuwait, Bosnia and Iraq since 1982, recording the violence inflicted on the surface of the earth by the machinery of war. Rather than focusing on the geopolitical meaning of a particular conflict, Ristelhueber is engaged with the ambiguities of what she calls the 'terrain of the real and of collec...
Sophie Ristelhueber
This volume - investigating the work of a particular photographer, in this case, Sophie Ristelhueber - comprises a 4000-word essay by an expert in the field, 55 photographs presented chronologically, each with a commentary, and a biography of the featured photographer.
Aftermath
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The Photographic Image in Digital Culture
This new edition of The Photographic Image in Digital Culture explores the condition of photography after some 20 years of remediation and transformation by digital technology. Through ten especially commissioned essays, by some of the leading scholars in the field of contemporary photography studies, a range of key topics are discussed including: the meaning of software in the production of photograph; the nature of networked photographs; the screen as the site of photographic display; the simulation of photography in the videogame; photography, ubiquitous computing and technologies of ambient intelligence; developments in vernacular photography and social media; the photograph and the digi...
Sophie Ristelhueber
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Visual Culture and the Forensic
David Houston Jones builds a bridge between practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example in performance and installation art as well as photography. Contemporary work in these areas responds both to forensic evidence, including crime scene photography, and to some of the assumptions underpinning its consumption. It asks how we look, and in whose name, foregrounding and scrutinising the enduring presence of voyeurism in visual media and instituting new forms of ethical engagement. Such work responds to the object-oriented culture associated with the forensic and offers a rea...
