Considering the Ankara Assassination Photos As History Painting

Jerry Saltz writing on Burhan Ozbilici’s powerful photographs of the assassination of Russian ambassador Andrey G. Karlov in Istanbul:

In this image, frozen perpetual motion — an entire scene of action and worldview is caught in an instant. Notice the picture is in perfect focus. This is not the shaky, out-of-focus, ill-framed onlooker iPhone shot of assassinations and revolutions past. Ozbilici is obviously a pro, there on assignment — in a dark irony, on assignment to cover an art party. And the setting is surely an element of the image’s strangeness — again, it feels both quotidian and “staged.” The gallery lighting balances and color-corrects everything, theatricalizes it all the more, making the action that much more striking. Look close and notice the key factor: This picture is taken from eye level. The photographer isn’t running away, hiding, in another room or in a crouch. Whether cravenly or by instinct, the photographer immediately reacted, moved into the action from almost straight on and framed the picture perfectly. He or she values frontality, clarity, structure, density, form. This is far from an accidental image. This is a radically self-determined picture, instantly polemical, powerfully formal.

Worth linking here is the New York Times summation of the assassination, which not only has more of Ozbilici’s photos in higher resolution, but also gives more context to the act itself:

Russia’s ambassador to Turkey was assassinated at an Ankara art exhibit on Monday evening by a lone Turkish gunman shouting “God is great!” and “don’t forget Aleppo, don’t forget Syria!” in what the leaders of Turkey and Russia called a provocative terrorist attack.

The gunman, described by Turkish officials as a 22-year-old off-duty police officer, also wounded at least three others in the assault on the envoy, Andrey G. Karlov, which was captured on video. Turkish officials said the assailant was killed by other officers in a shootout.

Champions of a Monster Polaroid Yield to the Digital World

Champions of a Monster Polaroid Yield to the Digital World

Notes

Apparatus :
Network,
images as “networked events”
Images take on meaning through transition transformation context sharing
Photography as a performative aspect
Real time
Still Moving … Now the same thing… “Impossible position” to argue the photo isn’t a video still
“The Social Body of Post Photography”

Digital as fundamentally political
“Digital Materialism”
“Exploitation of workers” photography vested in

“A cultural logic of control?”
Wenlock and Mandeville
—–
Dichotomy between image and object
“Our bodies relate to them”
How does change in physicals nature change understanding
Paradigm shifts happen slowly because people die and new ideas come forward
Changes of scale CS changes of kind
Skeuomkrphixs !!!
ALLISON Rossiter
—-
Technologies change faster than our brains : re: skeuomorphics

Performance space v. Treasure vault : the museum

“Extended notion of photographic” (through social media) and how do you institutionalize it?

Art not art, the difference doesn’t matter anymore …. Art museums handling his better than institutions dedicated to photographic images

Photographic artwork (ex, vernacular) can’t be divorced from “photography” (the art) .. ????

“Digital images infected with non identities”

The cure lies in curating lol ^^^

Perform vision and think vision

Museum as a social place, enjoying things shoulder to shoulder with someone you

Photo museum 2050 article

Photo as enhancing present vs preserving for future

Consciousness vs the object, ex, photos that belonged to now dead people

Artist curators using other artists as mouthpieces

“Attention economy theory”

diglloyd: Leica 180mm f/2.8 APO-Elmarit-R Aperture Series: Pines in Heavy Snowstorm (Sony A7R II)

diglloyd: Leica 180mm f/2.8 APO-Elmarit-R Aperture Series: Pines in Heavy Snowstorm (Sony A7R II)