Al-Hadidiya, Jordan Valley (David Shulman)

Shulman-Bi'r al-'Id. July 11 2015

photograph: Guy Hircefeld

June 30, 2016

Four months away provide just enough distance to see the madness and the cruelty for what they are. Who has set up this crazy system and kept it running for half a century? Is it not mad to deliberately deprive human beings—families, children, the elderly– of water at the height of summer in a scorching desert? It was at least 37 or 38 degrees Centigrade, almost 100 degrees Fahrenheit, today in Al-Hadidiya. No running water, of course, and almost no water at all. You can’t survive there without water. Continue reading

A Hot Field in Hebron: Ta’ayush and the Gleaners

Jon Simons has gracefully woven the pastoral and rather romantic image of gleaners (think of Agnes Varda) and its tie to the recent holiday of Shavuot into his discussion of this activity that took place last weekend by Ta’ayush. But of course, it was not Shavuot but rather a harvest-time Shabbat when settlers felt an urgent need to pray on a Palestinian field. Something similar happened last year. My friends whose Ta’ayush activity took them here at harvest time recounted how the settlers prayed under a canopy in the middle of the field where they were working. Soldiers who surrounded the worshippers declared the area off limits to Palestinians. In these routine practices of everyday intimidation settlers, with the cooperation of soldiers, put performative and otherwise visual religious practices – here routine praying on Shabbat, elsewhere the construction of eruv borders (see here), – to use in the service of land expropriation. It is one of the more sobering of common sights. It is also highly photographable. Perhaps next year I will be able to portray this religious practice in photographs. Even better, perhaps next year it will not happen and the lovely vision that Simons evokes at the end of his essay will have come to pass.

Germany’s Open Door Policy (padlocked)*

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A few days ago the New York Times published an article about the German pavilion at the Venice Architectural Biennale. This year the theme was Germany’s open borders; its heartfelt welcome to refugees; and consequent social changes. You may read it here. The exhibition represents open borders by cutting openings into its building. The pavilion’s website provides access to a database of projects for housing the new refugees who are pouring into the country in record numbers. Yet the reviewer notices that “Absent from the database are the voices of refugees or meaningful consideration of what it feels like to live in these spaces, something the curators acknowledge, but attribute partly to the fast-changing situation on the ground.” Continue reading

A Birthright Trip for Photographers? “This Place” at the Brooklyn Museum

I owe the comparison with Birthright to Abby Glogower, so this post is for Abby.

“I came to think that there was something very special in this land that a lot of people recognized and wanted to claim for their own.” Stephen Shore, about his contribution to This Place

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A pro-Palestinian, anti-gentrification protest. The protestors are standing in front of a projected photograph by Josef Koudelka, in the exhibition This Place, Brooklyn Museum, May 7, 2016.

It’s all about the land. The same land visited by young Jewish men and women in free trips organized by Taglit-Birthright with an eye to giving them a closer connection to that land and encouraging them to marry other Jews. Similarly, the project This Place brought twelve world-famous photographers to Israel and the West Bank for extended periods to offer them a chance to forge a visual relationship to “this historic and contested place.” The hope was that they would portray Israel in a “universalizing” way and transcend the “polarizing perceptions and familiar images of the region in the mainstream media.” Continue reading

Women, Tents, Energy, Caves: The Rural Women Association and Comet-ME

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“Do you teach about this at your university? Do you teach about our lives here?” asks Fatma Nawaja as she prepares for a meeting of the Rural Women Association. Continue reading

Unlocking the Eruv: Asfar, 12 March 2016

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Photographs tend to personalize, not to visualize, as is the nature of microcosms. It is hard to avoid the temptation to focus a camera on the lone child standing beside one ruined house rather than on the systematic character of land appropriation as seen in borders and structures and other visual signs that articulate land through materials and shapes.

On this day the microcosm is a micro victory: The members of a Palestinian family were too afraid for years to enter their land next to the Israeli settlement Metzad (Asfar). But they realized that visual signs of neglect on the land could eventually lead to a declaration of abandonment followed by confiscation. They decided to risk returning. Continue reading

Ezra Nawi, Ta’ayush, and 30 seconds of video

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Ezra Nawi, May 31, 2014

“Just as they film, so we film as well”

How powerful is a photographic medium? In Israel, thirty seconds of it is enough to arrest a man and keep him incommunicado for days without access to his lawyer. Enough to prompt from the Prime Minister a vicious condemnation of those who would hide behind the hypocrisy of “caring for human rights,” and, from the Defense Minister and the Education Minister, even more extreme attacks against human rights organizations. At best, there are calls for the “moral left” to repudiate the man who is under arrest, to condemn him without a trial, as well as “to thank the two journalists for their courageous, professional work.” You can read this piece by Ari Shavit here. The officials posted their remarks on their respective Facebook pages. Continue reading

book marks: a digression

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for Kate Wolff

As a newly minted PhD in the 1980s, I wrote a rather surly review of a monograph published in 1984 about the famous Bauhaus-trained graphic designer Herbert Bayer (1900-1985). Most of it I dismissed as hagiography and much of the rest as meaningless mumbo jumbo about Bayer’s engagement in “sustained investigation of the means by which intimate nature, monumental nature, and ultimately celestial nature can be made the apposite to human finitude.” I accused the author of depicting the great designer “as a mystical, pantheistic painter who designed on the side,” the escalation of a deplorable tendency to fetishize artists of the German Bauhaus. Continue reading

Children on the Beach

handala-syrianchild1I can’t bear to disseminate the now all-too familiar and completely devastating photograph of the drowned Syrian child on the beach alluded to in this drawing. Continue reading

portraits of the decisive moment

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Chicago, 1984.

It might seem to be a self-portrait but it is about a gesture, made at the moment when the shutter is released, the brief, balanced moment of hovering: “des Dastehns großer Anfangsbuchstab.” Stephen Mitchell translates this phrase from Rainer Maria Rilke’s fifth Duino Elegy about Picasso’s family of acrobats as “the large capital D that begins Duration.”

Continue reading