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Erschienen in:
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2018 | OriginalPaper | Buchkapitel

12. Peter Kennedy’s The Photographs’ Story: The Dialectical Image as Research

verfasst von : John Hughes

Erschienen in: Screen Production Research

Verlag: Springer International Publishing

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Abstract

Creative practice as research in moving image and sound has, since the 1960s, been central to the methodologies and works of many moving image artists in Australia. Peter Kennedy’s conceptual, performance, installation and light works mobilize radical political insight with richly complex formal strategies. Kennedy’s recent The Photographs’ Story (2015), working with a set of still photographs depicting the death of Mohammad Al-Dura in Gaza in June 2000, is examined for the manner in which formal strategies in moving image installation can be understood as a series of propositions regarding creative practice as research, arguing that the ‘poetic dimension’ of a work of art is the heart of its critical knowledge and the image, the vehicle for its transmission.

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Vorheriges Kapitel Fragments, Form and Photogénie: Using Practice to Research the Intersectional Work of Poetic Documentary
Nächstes Kapitel The Naïve Researcher Resisting Methodology: A Ph.D. Experience
Fußnoten
1
See Kennedy’s website for reference to his films, moving image works and exhibitions: http://​www.​peterkennedy.​com.​au/​.
 
2
This latter work is a strangely uncanny disjointed narrative in which a burglar narrates varying accounts of home invasions; when challenged, his excuses are far-fetched and implausible. It’s an experiment with night vision cinematography and four-channel storytelling. Kennedy: ‘It’s a bit like the role of photography […] as the stealer of images and stories’ (in Llewellyn 2016, p. 35).
 
3
Kennedy has described in shorthand the difference between the Yellow House and Inhibodress, designating the former as ‘West Coast hippie’ and the latter as ‘East Coast contemporary art’ (Marsh 2008).
 
4
Thanks to veteran archivist and scholar Stephen Jones and post-production by filmmaker William Head, who also did post-production of The Photographs’ Story (2016).
 
5
The artist’s reference for this work was Edgar Allan Poe’s gothic stories involving narrators bricking themselves, their pets or their colleagues behind walls.
 
6
An aside: another obliquely related reference inserts itself into the constellation. The top right-hand corner of The Australian announces, ‘George Orwell: how he turned into Big Brother’. (This article documents Orwell’s betrayal of colleagues, Communists and suspected Communists to the British MI5 in the early Cold War years), as if to remind us of Benjamin’s observation in ‘Some Motifs in Baudelaire’ of how the collage of unrelated news items juxtaposed in the daily newspaper mirrors the ‘shock’ affect of traumatic modern experience (Benjamin—on Baudelaire in Illuminations—1973, pp. 155–200). Here, the ‘collage’ directs our attention according to the program of the Murdoch Press.
 
7
In a beautiful essay teasing out a nuanced account of the figure of the ‘aura’ in Benjamin, Miriam Hansen Bratu cites Proust’s mémoire involontaire and Benjamin’s various affirmations of ‘things looking back’ and Valéry’s ‘The things I look at see me just as much as I see them’, and so on, Hansen writes, ‘The image of the seer seen [is familiar] in Merleau-Ponty, Sartre and Lacan […] Whether conceptualized in terms of constitutive lack, split or loss this other gaze in turn confronts the subject [with] the expectation that the gaze will be returned’ (Hansen 2008, pp. 337–338).
 
8
James Fallows.
 
9
Michel Foucault and Richard Howard, ‘Ceci n’est pas une pipe’, October 1 (Spring 1976).
 
10
Alastair has appeared in earlier Kennedy works (e.g., AJK at the Wall of Ghosts, Sutton Gallery, Melbourne, 2000) but this is the first with such creative participation and impact.
 
11
John Heartfield (1891–1968) is Benjamin’s exemplary instance. ‘The Author as Producer’ was prepared as an address for the Institute for the Study of Fascism, Paris, but it was never presented or published during Benjamin’s lifetime.
 
Literatur
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Benjamin, W. (1973, first pub. 1939). On Some Motifs in Baudelaire (H. Zorn, Trans.). In Illuminations (Fontana) (pp. 155–200).
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Engberg, J. (1998). …And…, catalogue essay. In Requiem for Ghosts. Melbourne: Australian Centre for Contemporary Art.
Fallows, J. (2003). Who Shot Mohammed Al-Dura? The Atlantic Monthly, 291(5) (June), pp. 49–56.
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Perkins, M. (Ed.). (2014). Video Void: Australian Video Art. Melbourne: Australian Scholarly Publishing.
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Underhill, N. (2000). Peter Kennedy: Breaking down the Barriers. Art & Australia, 38(1) (Spring), pp. 98–103.
Metadaten
Titel
Peter Kennedy’s The Photographs’ Story: The Dialectical Image as Research
verfasst von
John Hughes
Copyright-Jahr
2018
Buch
Screen Production Research

Print ISBN: 978-3-319-62836-3

Electronic ISBN: 978-3-319-62837-0

Copyright-Jahr: 2018

DOI
https://doi.org/10.1007/978-3-319-62837-0_12