Briefly, photography as a medium is important as it curates, but at the same time, creates both distance and personal sentiment towards the dead. 7 Angel McRobbie, While Susan Sontag lay dying, Open Democracy, Available: http://www.opendemocracy.net/people-photography/sontag_3987.jsp [Accessed: 28th September]. Thus, audience participation may be reduced to voyeurism, whereby what is perceived is framed and objectified. The addition of nudity, both of Sontag and Leibovitz herself in her works, further underlines how their relationship transcended the formal boundaries of merely purported close friendship. 19 Cara Takakjian, Book Review, Available: isites.harvard.edu/fs/docs/icb.topic148217.files/TakakjianSontag.htm [Accessed: 4th September]. In fact the hallmark of their relationship as lovers, lies in this photograph – this is Sontag seen through Leibovitz’s lens, unfiltered and in a natural state, with light cast upon her, almost lovingly. Conversely, post-mortem photography finds its roots far back into the nineteenth and twentieth century, the purpose of which was to dignify the dead and was a means for grieving families to cope. The former gave rise to much criticism, especially with regards to privacy and the rights Leibovitz had in publishing something that Sontag herself had no say in. Susan Sontag (1933 – 2004) would have been 87 on January 16. If ever a single person was living proof that intelligence is a meaningless quality without modest common sense, it was Susan Sontag who died last week. In this photograph, instead of the “solitary and intriguing figure, a sort of prowling lioness with…the penetrating gaze of a woman who did not suffer fools gladly”, the audience gets a glimpse into a rarely seen side of this famous intellectual force. In the first biography to be published since her death, Daniel Schreiber portrays a glamorous woman full of contradictions and inner conflicts, whose life mirrored the cultural upheavals of her time. By creating the photograph in parts, and later piecing it back together again in curved overlaps, Leibovitz attempts to humanize the photography experience as it reflects the reconstruction of Sontag’s unrecognizable, and nearly withered features of her corpse into the concept of Sontag as an individual, as seen through Leibovitz’s eyes. Instead, the image is placed silently between the pictures of Sontag returning, ill and dying from Seattle, and Leibovitz’s parents and brother. In contrast to the photograph of Sontag’s death however, the background does not create a sense of dimmed solemnity, rather, the anthropomorphic curves of the rock surrounding Sontag seem to give her a larger-than-life presence, while drawing the audience’s eye to her actual smaller and shadowy figure at the foot of the rocks. In these photographs, the corpse would be manipulated and dressed up such that it would resemble slumber or lifelikeness. A comparison can be drawn between such voyeurism to animals held in glass enclosures. January 3, 2005, 4:05 AM N EW YORK — Susan Sontag died the same week as a tsunami in south Asia killed over a hundred thousand people. A Photographer’s Life 1990-2005 – Exploring Leibovitz’s Oeuvre. A particular work from this collection that I would like to draw focus to is the untitled photograph of the corpse of Susan Sontag (above), laid out in its post-mortem, funerary state (Fig. Cancer is generally thought an inappropriate disease for a romantic character, in contrast to tuberculosis, perhaps because unromantic depression has supplanted the romantic notion of melancholy. What, then, to make of Sontag now? To celebrate, we’re republishing a rare interview with her from the March, 1978 edition of High Times, conducted by Victor Bockris. As a result, many have criticized the ethics of Leibovitz in publishing publicly something which would conventionally be accorded greater privacy, one which Sontag herself is unable to have a say in. There is a terrible, mean American resentment toward a writer who tries to do many things,’ she wrote in 1972, on the death of the author Paul Goodman. 1). Share with your friends the best quotes from Illness as Metaphor. Thus, a historical analysis into the subject of death is pertinent here. Illness as Metaphor, Chapter 7. When these pictures were published, after Sontag’s death, they ignited a fierce debate. 8) features a splatter of blood glowing across the wall, draped above an unmade bed now occupied by its new inhabitants. Rather, what these later concerns share is a broadly humanist outrage against injustice—an outrage which has become, thankfully, more mainstream in our culture since Sontag’s death in 2004. On Sontag's essays “Against Interpretation” (1964), “On Style” (1965), and "The Death of Tragedy” (1963). Via nytimes. It is a photograph very much embedded into the walls of Leibovitz’s personal collection, an intimate reflection and arguably, a means of letting go. Statues of saints were created for the same aforementioned purpose: with the decay of the body, and the continuity of a soul that would pass into the spiritual world, visual memory took place by using physical constructs to override the transience of the body, and as a symbol for the perpetuity of the soul. 22009by Angela Strassheim. To superimpose the ghost of those tragic moments that infringed upon the boundaries of life and death, and to realize the evidence of which is embedded on the walls and obscured from plain sight, renders the ostensibly innocent over-layer of the wall into something a haunting, all at once more menacing and sinister. Fig. Yet the audience is well aware of the living space around it that subtly frames an image of human monstrosity. This is further reinforced by the “breathing space” given to Sontag, whereby the photograph does not consist only of her image, but has also taken into account the purview of her surroundings, which gives context and the sense of Sontag resting peacefully. Lastly, this somewhat voyeuristic work also presents a nearly unrecognizable figure of this larger-than-life public intellectual that had nearly reached celebrity status at the time of her death. Ms. Sontag was born Susan Rosenblatt in Manhattan on Jan. 16, 1933, the daughter of Jack and Mildred Rosenblatt. In this exhibition, the general public would recognize instantly her professional, commercialized photographs taken for magazines such as Vanity Fair and Rolling Stone, most notably a nude and pregnant Demi Moore, or a nude John Lennon curled up against a fully dressed, somber Yoko Ono. The subject of death in art can be traced far back into the 16th century, most notably in vanitas art works which originated from the Netherlands. More often than not, this highly stylized, almost stale and overused characteristic underscores the figure-of-power at ease, and in Finley’s case, her tender, pale figure perhaps also enunciating eroticism. Fig. Recreating the dead through effigies, statues or other monuments played on the immortality of such physical structures, in direct contrast to the mortality and limitations of the human body. In these interventions, Sontag was not unique, nor especially erudite, or even that radical. The fact that he tried to kill himself only a short time ago gives the reader a clue; perhaps Diddy's version of events is not entirely reliable. Here, she explains her photography and sets the context for the juxtaposition and sifting between intimate photographs and professional portraits in her exhibition. Although a certain degree of voyeurism may be inevitable due to the nature of an exhibition (which implies a certain exhibitionist quality to the artist) especially in capturing images of death, Leibovitz makes attempt to bring this further, and in a way, allows audiences to pay their final respects and contemplate the death of this force of intellectual brilliance. Also printed on gelatin silver print, this black and white photograph captures the contrast between light and dark again, through its black and white medium, with the shadowy figure of Sontag being drawn into focus against the narrow white backdrop, and the immensity of the dark, towering rocks around her. By Lisa Levy. Regarding the Pain of Others book. What is it to understand a work of art? Despite this, post-mortem photography would have found itself in the wider notion of visual memory in mourning processes that persist to this day. Réunies par la posture étendue et une même impression de temps … The many hands that are laid near his wife’s cold and placid face articulates clearly her being laid to rest – there is no question of this. 6 Elizabeth Hallam, Jenny Hockey and Glennys Howarth, Beyond the Body: Death and Social Identity, (Routledge: London), 1999. Rather than mere documentation or voyeurism, it finds its place in the exhibition and marks a somber moment in the story, where death seems to be pervasive in Leibovitz’s life. There is no way for this not to be a throwdown. Like scenes out of film noir, photography leads to the immortalization of something already immortalized – blood leaves a permanent stain even when emotions, humans, and even memory has faded away into oblivion/non-existence. There’s no logical connection between these two events. But these flashes … 18 Ibid. She had huge ambition, indeed vanity, and hoped to win the Nobel Prize for Literature. Prima facie, the image is aesthetically pleasing; the unmade bed seems vaguely comforting and the bloodstains, juxtaposed against the two light switches hanging down the centre, are incandescent sparks of light. At the heart of this work, and also what drew the most criticism at that time, was the interspersing of personal elements amongst the professional; by blending in previously unearthed personal photographs of Leibovitz, her family and Susan Sontag. The purposes of forensic photography necessitate the complete detachment of emotion, opinion or other human traits from the subject in order to achieve an objective, even calculated image. Yet, put into context, the thematic light, an idiosyncratic feature of Leibovitz’s photographs, filtered in from the window seems to illuminate Sontag beautifully, overcasting the weariness that Sontag presents, and in fact, seems to place her in a state of peace and restfulness. However, to condemn the exhibition to public scandal would be to indubitably, fail to recognize the significance death photography in relation to the general human condition. 3 Caitlin McKinney, Leibovitz and Sontag: picturing an ethics of queer domesticity, Shift Queen’s Journal of Visual and Material Culture, Available: http://shiftjournal.org/archives/articles/2010/mckinney.pdf [Accessed: 1st September]. You are going to disagree with what I say about her fiction, especially the early stuff. Printed on gelatin silver print, in black and white, the very subtle contrast (or lack thereof) of the white bed against the plethora of greys and black that the background and Sontag is swathed in, serves to bring out the somber tone of the subject matter. The overlapping of the photograph also delineates itself, into a second set hidden underneath the dominant photograph, suggesting a personal experience of Sontag only known to Leibovitz, purposefully and metaphorically, kept away from the public eye. Photography becomes a metaphor for death, and Sontag’s life and legacy is contained by these images, without being Sontag in itself. Thus, coming back to Leibovitz’s photograph of Sontag’s death, two important key ideals are expressed here, namely death (and its relation to photography), and the relationship between subject and photographer. Susan Sontag (/ ˈ s ɒ n t æ ɡ /; January 16, 1933 – December 28, 2004) was an American writer, filmmaker, philosopher, teacher, and political activist. There is no ignoring her intensity and flashes of insight. Leaving Seattle, November 15, 2004. On October 2006, Annie Leibovitz published a series of photographs taken over the course of her 15 years as a professional photographer, entitled “A Photographer’s Life 1990-2005”. Unconsciously, vanitas has also become a subconscious commentary hidden in the backdrop of their lives and serves perhaps also, as a timely reminder to the audience about the close proximity of death to their own lives. She writes: “The of her unseemliness of Annie Leibovitz, one of the world’s best-known photographs, publishing intimate portraits lover Susan Sontag in the months before she died in December 2004 and then in the immediate aftermath of her death as she was laid out in the mortuary gurney, is perhaps only explicable in terms of her mourning, anger and outrage at being abandoned.”. 14 AnOther, Tilda Swinton’s The Maybe, Available: http://www.anothermag.com/current/view/2664/Tilda_Swintons_The_Maybe [Accessed: 3rd September]. Sontag was a tall, handsome, fluent and articulate woman. Hence, death itself is obscured by the image, cleaning/refurbishing and time and Strassheim invokes the continuity of life even after the tragedy and horrors of homicide has come to pass in a place. None of the doctors she initially consulted thought she had any hope at all, but she sought out aggressive treatments and she survived. This beacon of light and wit will be sorely missed, especially in light of the “dumming down” that we are witnessing in this society. While this highly personal photograph, that draws immediate focus towards Sontag as the centerpiece, might be enough for the discerning eye to realize the level of familiarity Leibovitz and Sontag shared, it is still difficult to accurately pinpoint the exact nature of their relationship. Disregarding the obvious suggestions of violence in Strassheim’s photographs, her series is a twist on vanitas, and the silent insinuations of an imminent death that surrounds people, even in their state of comfort and stagnancy of everyday life. The audience is allowed to recall, in this visual representation of sleep and death, not only the passing of their own loved ones, but to contemplate on the fine line between life and death, and hence the ephemeral qualities of life. These concepts surrounding death, image and memory is embodied and can be seen in Tilda Swinton’s performance art piece, entitled “The Maybe”. Prima facie, the photograph of Sontag fits perfectly into the oeuvre of celebrity assignments that Leibovitz took, Sontag herself a celebrity by her own right (this drawing itself back to the discourse of the ethics behind publishing “celebrity images” of Sontag). Furthermore, the narrow, almost claustrophobic scope of the photograph suggests the same – Araki’s response to death is literally by dealing with the reality of the situation, without leaving any space that might reveal the slightest hint of emotion. Susan Sontag's On Photography is a seminal and groundbreaking work on the subject.Susan Sontag's groundbreaking critique of photography asks forceful questions about the moral and aesthetic issues surrounding this art form. Yet, the obscuring of death camouflaged into the walls in Strassheim is paralleled by Leibovitz who fails to give a title or date to Sontag’s death as part of her larger oeuvre. She started off her career by writing essays for some renowned newspapers and soon published the most notable essay of her career titled “Notes on Camp” which brought her many accolades. Such a look into death and relationship between subject and photographer has been documented by other contemporary photographers, such as Nobuyoshi Araki. modifier - modifier le code - modifier Wikidata Susan Sontag, née Rosenblatt à New York le 16 janvier 1933 et morte le 28 décembre 2004 dans la même ville, … From Sontag taking a walk in Paris, or nude and weary in the bath, to her, smiling ever so slightly in a car – the pervasiveness of Sontag in such themes of everyday life is curated carefully by Leibovitz. References: The callousness inscribed by Araki in taking the photograph, reflects to the audience a more cold and documentary approach, which can be inferred as a coping mechanism on Araki’s part to deal with his wife’s death. Unlike vanitas paintings which had an underlying commentary of death and life, funerary photography functioned as visual memento mori as well. Susan Sontag's Death Kit opens as the story of a man who, in the course of a train journey, becomes convinced he has recently killed someone. Figure majeure de la littérature et de la pensée d’avant-garde américaine, proche de Peter Hujar, Susan Sontag rédige alors la préface de son livre, Portraits in Life and Death, qui sera publié l’année suivante. “I don’t have two lives. Despite no conclusive explanation given for the work, links can be drawn to the same saint-like reverence and glorification of saints that is featured in Christianity. This emotional link is two-pronged. Susan Sontag was a renowned Jewish-American writer, who was also a prolific filmmaker, teacher and political activist. 2 David Rieff, Swimming in a Sea of Death: A Son’s Memoir, (New York: Simon & Shuster, 2008), p. 150. In “Evidence, #11, 48×60” (Fig. Achetez neuf ou d'occasion Her black and white images are long exposures, with minimal night light filtering in from obscured windows, each bearing a title that states the murder weapon and details of the events. By humanizing the dead Sontag, she inevitably immortalizes Sontag into the image of Sontag alive, breathing and lying on a couch. Similarities of her lifeless body can be drawn to an effigy, and when transcribed through the medium of photography, can be alluded to perhaps, her undying image in the various fields of intellectualism she was involved in. This immortality would then later transcribe itself to the so-called preservation of a life, where the living memory of the person would be retained. Dans ce livre, Peter Hujar associe des prises de vue dans les catacombes de Palerme à des portraits de la bohème newyorkaise. She discovered her undying love for books during her teenage. For her, this is an act of remembrance and a means of letting go. Similarly, in photography, the audience looks at an image as they would at a spectacle. Another key feature of this photograph is how it is split into several parts overlapping each other and stitched together with sticky tape, suggesting a kind of “physical deconstruction” of Susan Sontag through Leibovitz’s eyes, while the curved formation of the newly reconstructed photograph, removes, ironically, a certain stiffness in death that the otherwise normal landscape photograph might have portrayed. The copy itself isn’t that old. 2Susan Sontag, Petra, Jordan199471.3 x 58.6 x 3.2 cmby Annie Leibovitz. Here, the photograph manifests as raw emotion, reflection and metaphor. She was 71. In a way, this photograph also foreshadows the later photograph of Sontag in death. Two volumes of Susan Sontag’s diaries, edited by her son, David Rieff, have been published, and a third is forthcoming. 5) that not only corresponds directly to Leibovitz’s photography of Sontag’s death, but also questions again the depth of photographer/subject relationships, as well as the idea of voyeurism in death photography. More specifically, the published “Sentimental Journey”, similar to Leibovitz’s “A Photographer’s Life 1990-2005”, features a series of black-and-whites, documenting Araki’s relationship with his deceased wife Yoko. – Annie Leibovitz, A Photographer’s Life, 1990-2005. A collection of scholarly critical articles about her work is entitled The Scandal of Susan Sontag (2009). The first work following the introduction, that catches the audiences’ eye, is a picture of Susan Sontag at Petra, Jordan (1994) (Fig. In 1992 she received the Malaparte Prize in Italy, and in 1999 she was named a Commandeur de l'Ordre des Arts et des Lettres by the French government (she had been named an Officier in the same order in 1984). For Leibovitz, the “glass box” here is represented through photography itself which articulates both the same distance and invitation to the audience. Strassheim, a former forensic photographer, translates her professional skills into the realm of art (almost similar to Leibovitz), whereby her work Evidence, is a collection of photographs taken at 140 homes across the United States that were once homicide crime scenes. The organization of her collection as a whole suggests a form of storytelling, and like any story, Leibovitz begins with an introduction in writing. Susan Sontag (1933–2004) was one of America’s first celebrity intellectuals. 17 Ibid. October 4, 2019. Conversely for Araki who is well known for having sex with all his subjects before beginning his photography sessions, it is the almost lack of nudity and sex, which is idiosyncratic of his works, in “Sentimental Journey” that seems to highlight the special relationship shared between Araki and his wife. Visitors on the other side of the glass maintain a sense of superiority over the subjects in the glass enclosures, as there is an observer and object relationship that is created, with the observer being the one with the intellectual capability to link such observations to associated experiences, actions and thoughts. 16 Women in Photography, Angela Strassheim, Available: http://www.wipnyc.org/blog/angela-strassheim [Accessed: 1st November]. She was in her early forties when she discovered that she had stage 4 breast cancer. In particular, Sontag’s son David Reiff, labeled the photograph as “carnival images of celebrity death”. The content of the images also suggest that Leibovitz’s photographs go beyond voyeurism. Susan tells her it’s the pain. Scottish, born 1960. It is the same life presented by Leibovitz in the exhibition that eventually humanizes the image of Sontag in her death for the audience. It is the image of Sontag that she chooses to retain. However, as the “story unfolds” through the exhibition, the depth of intimacy between photographer and subject is continuously explored and developed. Susan Sontag, writer, born January 16 1933; died December 28 2004. The modern day tradition of preserving the sanctity of death is sustained as such, through the medium of photography which is all at once, a public and private affair that is able to distance and compel the audience. 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