Fish Story, Sekula’s magnum opus, underscores photography’s role in labor history and in working class responses to globalization. The project has seven. First published in , Allan Sekula’s Fish Story is regarded as a seminal early critique of global capitalism and landmark body of work that challenged. Fish Story [Allan Sekula] on *FREE* shipping on qualifying offers.

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See Jean Baudrillard, Simulationstrans. See Atory Fietzek ed. The photographs constitute a unique record of unemployment and dilapidation in the old industrial powers, the capitalist pursuit of cheap labor around the globe, and the strenuous work of seafaring.

Buchloh, in Sekulap. Above all, this means to recognise the inherent contradictions of a complex and continuously changing world-system, and indeed to insist on contradiction as the very locus of change.

Allan Sekula. Chapter One, Fish Story from the series Fish Story. | MoMA

With the exhibition Fish StoryAmerican artist Allan Sekula reconstructed a realist model of photographic representation, while taking a critical stance towards traditional documentary photography.

The successive chapters of Fish Story were shown individually in various locations as they were completed, but it was the exhibition of two chapters at the Whitney Biennial in New York that put the project under the international spotlight for the first time. See Elisabeth Sussman ed. This is true enough of advertising and the mass media. If you have additional information or spotted an error, please send feedback to digital moma. It shows the Staten Island Ferry binoculars, minus the boy, directed through the window of the deck towards another ship in the hazy middle distance, the metallic sheen of the casing reflected in the same window back towards the viewer.

Completed between andthe third instalment of this trilogy, the exhibition and book project Fish Story fig. Acknowledgements This paper is a revised version of an article originally published in immediationsDecemberpp. Not merely because of its placement, the very first image of Fish Story as a whole, in fact, provokes just such an attempt fig.


Most importantly, it would seem that, in any attempt to portray global capitalism, a danger of detachment and reification will be heightened by the sheer invisibility of the systemic. The significance of the project was recognised soon after its appearance, yet it has been the focus of relatively little extended commentary since, despite being regularly described as a seminal work on allsn theme of globalisation.


Main menu additional Become a Member Shop. More information is also available about the film collection and the Circulating Film and Video Library. Overall, the sequences formed a circular movement. In the last year of Sekula’s life, she returned to Sstory Angeles to help organize his archive, and since that time has overseen the inventory of his studio and arranged for a number of key posthumous exhibitions and publications. The exhibition in Witte de With sekua of 7 sequences or chapters, incorporating framed color photographs: Fish Story also included two slide sequences of 80 projected slides each: In sum, the admittance of contingency and subjectivity are integral to the critical realism of Fish Story.

Accordingly, Fish Stofy targets numerous aspects and local effects of the world-historical picture, concentrating on the painful transitions of Europe and the US from industrial to post-industrial societies, and the contemporaneous industrialisation of East Stpry.

The first chapter goes on to focus largely on both the busy and abandoned harbour areas of California, including an empty shipyard after its use as a location for a Hollywood film shoot fig.

Allan Sekula — Fish Story

There are microscopic close-ups as well as panoramas and, between aekula two, there are highly detailed and carefully composed views of a variety of oceanic, coastal, factory and shipyard scenes.

Social Suffering in Contemporary Societytrans. In Fish Story Sekula picked up this tradition, demonstrating the history and future of maritime space not only as a visual space but also as a socio-economic one.

The counterpart, then, to the familiar post-industrial and postmodern visions of social reproduction founded on service labour, the creative industries and the fashioning of consumer experiences in the advanced societies of the North has been the ebbing visibility of material production over the last thirty to forty years in those same countries. Often absent, obscured or incidental, sometimes central, mostly at work on specific tasks, and occasionally dwarfed by some hulking industrial apparatus, the subjects include welders, dockers, market traders, scavengers, rescue workers and fishermen, as well as the unemployed, children and families.

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She is the author of Dialectical Passions: In short, the boundaries of that institutional field are clearly more porous than Buchloh is here willing to admit, and storj his help, Fish Story becomes legible within the artistic field precisely as a contravention of the dominant terms of post-Conceptual photographic practice.

The photographs and slide installations were combined with text panels, which commented on the project. This paper is a revised version of an article originally published in immediationsDecemberpp.

Allan Sekula: Fish Story

Two Years After Closing. However, if the reflex of contemporary consumer society in the global North is to foster a romanticised vision of industrial labour consigned to an imaginary past, this may be as refuge from the urgent pressures of the present.

Are there broader sekyla to be drawn from this disappearance? The project has seven chapters, incorporating color photographs, twenty-six black-and-white text panels, and two slide projections.

If you notice an error, please contact us at digital moma. On land the viewer is privy to these mostly unseen frontier towns for the global circulation of containers, within which individual people occupy a variety of positions. I would like to thank the editorial team of immediations vish permission to republish the article, and Simon Baker, Sarah James, Sara Knelman, Julian Stallabrass and my anonymous reviewers for their invaluable feedback on earlier versions of the text, as well as Christopher Griffin and Jennifer Mundy at Tate Papers.

For access to motion picture film stills please contact the Film Study Center. This was despite the fact that debates within the pages of the journals LEF from to and Noyvi LEF from to often tended, as John Roberts has argued, to polarise around commitments to one or the other of these aspects.