In what way is photography integral part of anthropology and museum practices? This panel brings together anthropologists, curators, object-analysts and museum experts to question the transparency of imaging technology. It reflects on the environment in which images are produced and consumed.
Inspired by Louis Marin's (1989) concept of « opacité » and Cristina Grasseni's (2007) idea of « skilled vision », in this panel we question the transparency of imaging technology and reflect on their materiality. We are interested in discussing images in relation to the environment in which they are produced and consumed and to the practice of looking that the same images embed. Accordingly, we ask: to what extent is photography becoming integral part of the discipline anthropology and museum practices at large? What is (not) representable and how is it (re)presented?
In this panel, we seek to explore these questions through a dialogue between anthropologists, curators, analysts of artefacts and various museum experts coming from different departments. We aim to bring images and objects in context and reflect on the relationship between technology and environment, images and objects/subjects in both anthropology and museum practice. In particular, we would like to draw attention to the potential and limitations of novel imaging technologies advanced in new museums, such as for instance the Musée du quai Branly, and the way in which these technologies intersect with anthropological research.
Grasseni, Cristina. (ed.). 2007. Skilled Visions: Between Apprenticeship and Standards. Vol. 6. Berghahn Books.
Marin, Louis. 1989. Opacité de la Peinture. Editions de l'EHESS, Paris, 2006.