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The sky above has been transformed into militarized airspace and, as technologies of war and surveillance invisibly peer down from the sky, some artists have responded by interrogating these technologies and the airborne view itself. To co-opt the surveillance apparatus or to turn the airborne platform against itself is to reclaim a vantage point in the name of a public’s right to see and know what is taking place over-head and in its name. Working in video and photography predominantly, the two artists who are discussed, Robert Del Tredici and Trevor Paglen, measure and map the scale of militarism while conducting raids on nuclear and military secrecy. Their work addresses militarism from above—that is to say, from the vantage point of the airborne view.
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Adler, Dan. 2018. “Deconstructing the Doughnut: On Trevor Paglen’s Circles.” Prefix Photo, The Aerial View #37 18 (1): 22–35.
Amad, Paula. 2012. “From God’s-Eye to Camera-Eye: Aerial Photography’s Post-humanist and Neo-humanist Visions of the World.” History of Photography 36 (1): 66–86. CrossRef
Berland, Jody, and Blake Fitzpatrick. 2010. “Introduction: Cultures of Militarization and the Military-Cultural Complex.” TOPIA: Journal of Canadian Cultural Studies 23/24: 9–27.
Castaing-Taylor, Lucien. 2015. “On His Installation Work.” In Avant-Doc: Intersections of Documentary & Avant-Garde Cinema, edited by Scott MacDonald, 393–400. New York: Oxford University Press.
Del Tredici, Robert. 1987. At Work in the Fields of the Bomb. Vancouver: Douglas & McIntyre.
______. 1989. “Romancing the Atom.” Views: The Journal of Photography New England 10 (3): 3–6.
Deriu, David. 2007. “Picturing Ruinscapes: The Aerial Photograph as Image of Historical Trauma.” In The Image and the Witness: Trauma, Memory and Visual Culture, edited by Francis Guerin and Roger Hallas, 189–203. London and New York: Wallflower Press.
Heiser, Jörg. 2014. “Safety in Numbers?” Frieze. March 12. https://frieze.com/article/safety-numbers. Accessed July 1, 2018.
Kahana, Jonathan. 2014. “Evidence of What? Harum Farocki and Trevor Paglen Picture Homeland Insecurity.” In Visibility Machines: Issues in Cultural Theory 17, edited by Niels Van Tomme, 71–89. Baltimore: Centre for Art, Design, and Visual Culture.
Keenan, Thomas. 2008. “Disappearances: The Photographs of Trevor Paglen.” Aperture 191: 37–43.
Merewether, Charles. 1997. “Traces of Loss.” In Irresistible Decay: Ruins Reclaimed, edited by Michael S. Roth, Claire Lyons, and Charles Merewether, 25–40. Los Angeles: The Getty Research Institute for the History of Art and the Humanities.
Mirzoeff, Nicholas. 2011. The Right to Look: Or, How to Think With and Against Visuality. Durham: Duke University Press. CrossRef
Paglen, Trevor. 2009. Blank Spots on the Map: The Dark Geography of the Pentagon’s Secret World. New York: Dutton.
Paglen, Trevor. 2010. Invisible: Covert Operations and Classified Landscapes. New York: Aperture Foundation.
_______. 2013. Interview: Trevor Paglen. Center for the Study of the Drone: Bard College. http://dronecenter.bard.edu/interview-trevor-paglen/. Accessed July 1, 2018.
_______. 2014. “Overhead: New Photos of the NSA and Other Top Intelligence Agencies Revealed.” In Creative Time Reports. http://creativetimereports.org/2014/02/10/overhead-new-photos-of-the-nsa-and-other-top-intelligence-agencies-revealed-trevor-paglen/. Accessed July 1, 2018.
Sekula, Allan. 2003. “Reading an Archive: Photography Between Labour and Capitalism.” In The Photography Reader, edited by Liz Wells, 443–452. New York: Routledge.
Sloterdijk, Peter. 2009. Terror from the Air. Translated by Amy Patton and Steve Corcoran. Los Angeles: Semiotext(e).
Stallabrass, Julian. 2011. “Negative Dialectics in the Google Era: A Conversation with Trevor Paglen.” October 138: 3–14. CrossRef
Virilio, Paul, and Sylvère Lotringer. 1997. Pure War. Los Angeles: Semiotext(e).
- From Above: Critical Distance, Aerial Views, and Counter-Images
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