Author Archives: Sophie Berrebi

Part 5 – The Production of Documents

“In history everything begins with the gesture of setting aside, of putting together, of transforming certain classified objects into ‘documents.’ This new cultural distribution is the first task. In reality it consists in producing such documents by dint of copying, transcribing, or photographing these objects, simultaneously changing their locus and their status.”[1] In The Writing […]

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Part 4 – Another Threshold

Edouard Manet’s Portrait of Emile Zola, from 1868, currently on view at the Royal Academy in London in the Manet: Portraying Life exhibition is usually interpreted as a testimony of the friendship between the artist and a writer who was one of his strongest supporters in those years. The painting shows Zola seated sideways at […]

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Part 3 – The Opacity of Photography

One of my students recently declared she believed there was nothing to learn from Flusser’s writings on photography. For her, digital technology expanded the possibilities of photography well beyond what Flusser described as the pre-defined program contained within the camera apparatus. The same went for the idea of the impenetrability of the “black box,” which […]

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Part 2 – Welsh Water

One of the pictures that I always come back to when thinking about object photography is a black and white image by the artist Jean-Luc Moulène entitled Bi-Fixe, 7 September 2003. It shows two PET bottles of mineral water from Wales sold under the brand Ty Nant, which have been laid flat onto a medium-colored […]

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Part 1 – Platinum Blondes and a Bearded Lady

“The grammar of cinema is a grammar uniquely its own.” Jean Epstein I remember once being fascinated at the discovery that the silky, almost-white, blond hair of many Hollywood stars from the Golden Age was only an illusion, – a contraption developed for the silver screen. The ability of platinum blond to reflect light endowed […]

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