Avec Fried, beholders

Luc Delahaye - disparaître

Cité par Fried, 222 : "More than anything I want to disappear."
Qui reste la question d'y être. De la scène d'être photographe, en relais entre le vu et le montrer.
Une modalité de l'y-être. Du comment (se) disposer. 

Bustamante, sur un autre plan mais à penser ensemble : vider le pictural dans la photo.

Michael Fried - photographic address, 2 axes

Perspicace, Fried (le régal, à la longue plus irritant, comme une limite - celle de l'esthétique, para-phénoménologique - de son ekpharsis) sur la question de la photographic address. Où il approche, lucidité extrême, exciting, mais reste juste à la limite de la question du public - en concentrant l'attention au point du beholder. Proposition pourtant sur la transformation, individualisme du tirage/page vers la publication du tirage-tableau, "format", "forme-tableau" (qu'il reprend à Chevrier), très forte et suggestive, ouvrant.

Photographic address, dont il articule la vision avec la notion des 2 axes du beholding, sur lesquels peuvent se dérouler des drames différents, en tension dynamique, éventuellement en contradiction tensive. Espace double permettant de spatialiser théoriquement sa proposition sur le nouveau régime photographique depuis la mi-1970s, post-littéralisme/minimalisme, post-moderniste.
Dont résumé par ex. 223 : "a combination of an acknowledgement of to-be-seenness and a resolve, against the odds, not to succomb to theatricality."
Ou 214 : "the necessity in the wake of minimalism/literalism to acknowledge to-be-seenness in the course of pursuing antitheatrical aims - in that sense driving a wedge between theatricality and to-be-seenness and by doing so to establish antitheatricality on significantly new ground".
Cf R. Dijkstra parlant de "gap" between intention and effect" (208), en fidélité à Arbus.

Les 2 axes, 203 : "two complementary axes", et perpendiculaires par rapport au plan de la photo, ou "surface" (// transparence, C. Greenberg, contre tout ce que la peinture peut faire de la surface, aussi épaisse qu'elle veut, voir La Vague de Courbet) : pictural / photographique. 
A propos des portraits de famille de T. Struth : "the axis of family relationships", // "the second axis is orthogonal to the first and thrusts directly out from the picture toward the viewer ; this is the axis of a frontal gaze[s...], and I think of is as the axis of individual and/or collective address." 2 contrasting modalities, self-awareness and unawareness ici, are functionally related to one another." Absorption et théâtralité. "Lateral relationships" dans le plan de la photo (plan focal), axe de l'absorption // axe de l'adresse.
"Thus a tour de force of antitheatrical art despite the overall frontality of the image". "Or rather it is Struth's restaging of the frontal dispositif by means of the various measures summarized earlier that not only divests that dispositif of theatrical connotations but actually makes it serve the interests of the overcoming of
theatricality."

Michael Fried - portrait

Citant Thomas Struth à propos de ses portraits de familles, " 'The portrait is the subject matter in photography where the problem of the media [why the plural?] are the most visible' " (192). Ann Goldstein comments: "For him, those problems begin with the reality of putting a person in front of a camera, and the complex dynamics that take place between the sitter, the photographer and the spectator".

Propos de Fried : repéré aussi dans l'histoire de la peinture : "In mid-18th century France, for example, the portrait was a quiestionable genre in the eyes of many art critics. As I remark in Absorption and Theatricality, a frequent objection was that portraiture required the exercise merely of mechanical skills rather than of the pictorial imagination. 'But there was', I suggest, 'still another source of critical misgiving - the inherent theatricality of the genre. More nakedly and as it were categorically than the conventions of other genres, those of the portrait call for exhibiting a subject, the sitter, to the public gaze; put another way, the basic action depicted in a portrait is the sitter's presentation of himself or herself to be beheld. It followas taht the portrait as a genre was singularly ill-equiped to comply with the demand that a painting negate or neutralize the presence of the beholder, a demand that ... became a matter of urgent, if for the most part less thant fully conscious, concern for French art critics during these years." (192-193)

Voir Goffman, La Présentation de soi. La mise en scène de la vie quotidienne (Minuit, 1973).

Plus loin, rappel de Barthes, Chambre claire, sur le rapport intime entre photographie et pose : "what founds the nature of Photography is the Pose". + expresses predilection for photographs of persons who look directly into the camera, "[who look me] straight in the eye". Barthes's antitheatricalism.

Entrées de James Mollison

James Mollison. 

Photographier pour des associations. Proposer.
Photographier, now par ex., pour la crise du SAMU social.