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Apocalyptic Sublime: On the Brighton Photo-Biennial
Historical Materialism 17 (2):84-102 (2009)
Abstract
Based on an account of the Brighton Photo-Biennial Memory of Fire: The War of Images and Images of War, curated by Julian Stallabrass in late 2008, this essay considers the photographic coverage of the recent imperialist interventions in the Middle East. Taking its cue from Stallabrass's event, it reflects on the decline of documentary and photojournalism since the Vietnam War and the current attenuated politics of the media. It argues that the problem of the sublime extends beyond the current genre of 'aftermath'-photography and asks what might constitute a more cognitively adequate politics of the image.Other Versions
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Citations of this work
Killing for Show: Interview with Julian Stallabrass.Julian Stallabrass, Alex Fletcher & Andrew Fisher - 2022 - Philosophy of Photography 13 (2):183-205.
‘What Keeps Mankind Alive?’: the Eleventh International Istanbul Biennial. Once More on Aesthetics and Politics.David Mabb, Steve Edwards & Gail Day - 2010 - Historical Materialism 18 (4):135-171.
References found in this work
Uncritical theory: postmodernism, intellectuals, and the Gulf War.Christopher Norris - 1992 - London: Lawrence & Wishart.
The Ideology of the Aesthetic.Terry Eagleton - 1991 - Journal of Aesthetics and Art Criticism 49 (3):259-261.
Lessons on the Analytic of the Sublime: Kant's Critique of Judgment, [Sections] 23-29.Elizabeth Rottenberg (ed.) - 1994 - Stanford, Calif.: Stanford University Press.
'The Rush to the Intimate': Counterinsurgency and the Cultural Turn.Derek Gregory - 2008 - Radical Philosophy 150:8.
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