Main content
Course: The Museum of Modern Art > Unit 1
Lesson 10: Seeing Through Photographs- Seeing Through Photographs
- Nicholas Nixon | The Brown Sisters
- Hank Willis Thomas | Unbranded
- Katy Grannan | Boulevard
- Vik Muniz | Equivalents (The Museum of Modern Art)
- Marvin Heiferman | Seeing Through Photographs
- Sarah Meister | Seeing Through Photographs
- Lucas Blalock | Strawberries (Fresh Forever), Strawberries (Forever Fresh)
- David Horvitz | Mood Disorder
- Anouk Kruithof | Subconscious Travelling
- Ilit Azoulay | Shifting Degrees of Certainty
© 2024 Khan AcademyTerms of usePrivacy PolicyCookie Notice
Ilit Azoulay | Shifting Degrees of Certainty
Ilit Azoulay sought out traces of the past in various German cities for Shifting Degrees of Certainty. Hear her explain the genesis and structure of this project and how it started with a lot of unknowns, as well as careful observation of her surroundings. -- Enroll in MoMA's new, free online course, "Seeing Through Photographs": http://bit.ly/1KANpxB See other interviews with photographers: http://bit.ly/1o30O85.
Want to join the conversation?
- How can we see/hear this work?(1 vote)
Video transcript
My name is Ilit Azoulay, and I'm participating
in the exhibition Ocean of Images, with the work named
Shifting Degrees of Certainty. Shifting Degrees of Certainty
is an image of a map or a brain at the same time,
containing 85 puzzle pieces and for each puzzle it's an image
that has a background story a historical background,
I would say that is served to the viewer
via an audio guide device. Can you talk to me
about the methodology that you used or the process that you used
during that piece? Yes, when I arrived to Germany, I started to spot the places
that haven't been bombed during the Second World War, because I wanted to reach the process
or the understanding of how certain public spaces
are being preserved. After coming from Israel
and tracing the law of conservation and preservation in Israel, I was very interested to see
how it's taking place in Germany. I started to photograph objects,
architectural relics, certain images, all connected to architecture, and the only main umbrella
that I knew at that point is that everything
that I'm photographing is either under conservation,
preservation, or restoration status. And then I started a process
of understanding, asking questions regarding the historical background
of each image that I photographed. And those questions took me
to a road that surprised me very much and creates the system and the way
that the work shifts itself. And it was usually correspondence
with the archives or certain experts concerning the object
or the image that I photographed. So the piece is made of 85 images, but there are also sounds
and recordings that you did during your residency. My question is was it conceived
to be right that way from the start? Yeah. Usually when I start a project, there a very few basic rules
that I know from the beginning but I have to have a big bubble
of unknowing and to open my ears to what's appeared and revealed
from the process. And it's opened in a way
for me a possibility of a staring, leaving your eyes on an image that is not necessarily
very interesting, but while listening to a journey,
imagining a three-dimensional aspect of other images
that could be there in a way. So you started working
with the analog process at the beginning of your career, and then you switched to digital. How has that affected your work, and do you sometimes feel nostalgic
about the old analog process? Yes, I think for me, it's all
mixed with a personal development. When I take myself back then, I felt I would say that
in the world of communication, and I feel that a camera
is a communication tool but also in other aspects,
all kinds of communication, there's so little precise thing. There is so little moments
of real meetings. So when I found myself
with my first camera that I got from my grandfather,
a Rolleiflex with a small macro lens, I found this special essence, or special mood
of meeting with objects, and I felt this photography for me. So by mistake in a way, there was suddenly
no negatives in Israel, and I found myself
holding a digital camera, but compared to the 4x5 negative
it was so shallow, the results. So I decided to think
from the beginning of photography, and to think about this tool
that painters used, creating kind of a grid on a glass,
on a piece of a glass, and photographing the reality
from each square in this grid, and then combine it together, maybe I can have something
that is a little bit similar to this 4x5 aspect
that really brings material inside.