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Of War in the Photography of Sophie Ristelhueber, Simon Norfolk and Luc Delahaye

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Of War in the Photography of Sophie Ristelhueber, Simon Norfolk and Luc Delahaye Thinking the ‘Event’ of War in the Photography of Sophie Ristelhueber, Simon Norfolk and Luc Delahaye Emma Crott A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy UNSW Art & Design 2018 Thesis/Dissertation Sheet Surname/Family Name : Crott Given Name/s : Emma Abbreviation for degree as give in the University calendar : PhD Faculty : Art & Design School : Art & Design Thinking the ‘Event’ of War in the Photography of Sophie Ristelhueber, Thesis Title : Simon Norfolk and Luc Delahaye Abstract: This study examines how three contemporary art photographers, Sophie Ristelhueber, Simon Norfolk and Luc Delahaye, critically engage with the history, conventions and functions of representations of war. All three image-makers have established reputations in the international art world. Commentators have also placed their work under the recently coined rubric of ‘aftermath’ or ‘late’ photography that responds to military conflicts. Arriving days, months or years after battle has ceased to photograph traces of war and the destructive effects left behind, this ‘late’ mode of war photography is often contrasted with the temporal and spatial proximity to action endorsed by the ‘decisive moment’ of photojournalism. My analysis of works by Ristelhueber, Norfolk and Delahaye focuses on examples of their practice made in response to military conflicts in the Middle East since the 1990s. These works are briefly contextualised within the historical evolution of war photography, and related to shifts in the conduct and media representations of war in recent decades. Additionally, the study investigates commentaries on aftermath war photography by theorists John Roberts and David Campany, among others. A significant aim of this project is to interrogate assumptions about what constitutes the ‘event’ (of war) that informs the current literature on aftermath war photography. My approach to this topic draws on Jacques Derrida’s theorisation of the divided structure of the ‘event’ as both resistant to representation and necessarily subject to representational translation. It is proposed that works of Ristelhueber, Norfolk and Delahaye reflect this divided structure by simultaneously ‘speaking’ and ‘keeping silent’ about the event of war. Various historical and contemporary aesthetic theories are adapted to explore how each artist confects a degree of conceptual indeterminacy in their works. These theories include Jacques Rancière’s concepts of the ‘pensive image’ and ‘anachronism’, and Gotthold Ephraim Lessing’s eighteenth century thinking of the ‘pregnant moment’ in history painting. It is contended that unlike much contemporary media imagery of war that circumscribes and directs interpretation, the photography addressed in this project delays, fragments or suspends cognitive resolution, thereby offering food for thought about the contentious topic of war. Declaration relating to disposition of project thesis/dissertation I hereby grant to the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all property rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstracts International (this is applicable to doctoral theses only). 16 April 2018 …………………………………………………………… ……………………………………..……………… ……….……………………...…….… Signature Witness Signature Date The University recognises that there may be exceptional circumstances requiring restrictions on copying or conditions on use. Requests for restriction for a period of up to 2 years must be made in writing. Requests for a longer period of restriction may be considered in exceptional circumstances and require the approval of the Dean of Graduate Research. FOR OFFICE USE ONLY Date of completion of requirements for Award: Statement of Originality I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged. Signed ……………………………………………............. Date …………………………………………….................16 April 2018 i Copyright Statement I hereby grant the University of New South Wales or its agents the right to archive and to make available my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known, subject to the provisions of the Copyright Act 1968. I retain all proprietary rights, such as patent rights. I also retain the right to use in future works (such as articles or books) all or part of this thesis or dissertation. I also authorise University Microfilms to use the 350 word abstract of my thesis in Dissertation Abstract International (this is applicable to doctoral theses only). I have either used no substantial portions of copyright material in my thesis or I have obtained permission to use copyright material; where permission has not been granted I have applied/will apply for a partial restriction of the digital copy of my thesis or dissertation. Signed ……………………………………………............. Date …………………………………………….................16 April 2018 ii Authenticity Statement I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis. No emendation of content has occurred and if there are any minor variations in formatting, they are the result of the conversion to digital format. Signed ……………………………………………............. Date …………………………………………….................16 April 2018 iii Abstract This study examines how three contemporary art photographers, Sophie Ristelhueber, Simon Norfolk and Luc Delahaye, critically engage with the history, conventions and functions of representations of war. All three image-makers have established reputations in the international art world. Commentators have also placed their work under the recently coined rubric of ‘aftermath’ or ‘late’ photography that responds to military conflicts. Arriving days, months or years after battle has ceased to photograph traces of war and the destructive effects left behind, this ‘late’ mode of war photography is often contrasted with the temporal and spatial proximity to action endorsed by the ‘decisive moment’ of photojournalism. My analysis of works by Ristelhueber, Norfolk and Delahaye focuses on examples of their practice made in response to military conflicts in the Middle East since the 1990s. These works are briefly contextualised within the historical evolution of war photography, and related to shifts in the conduct and media representations of war in recent decades. Additionally, the study investigates commentaries on aftermath war photography by theorists John Roberts and David Campany, among others. A significant aim of this project is to interrogate assumptions about what constitutes the ‘event’ (of war) that informs the current literature on aftermath war photography. My approach to this topic draws on Jacques Derrida’s theorisation of the divided structure of the ‘event’ as both resistant to representation and necessarily subject to representational translation. It is proposed that works of Ristelhueber, Norfolk and Delahaye reflect this divided structure by simultaneously ‘speaking’ and ‘keeping silent’ about the event of war. Various historical and contemporary aesthetic theories are adapted to explore how each artist confects a degree of conceptual indeterminacy in their works. These theories include Jacques Rancière’s concepts of the ‘pensive image’ and ‘anachronism’, and Gotthold Ephraim Lessing’s eighteenth century thinking of the ‘pregnant moment’ in history painting. Each of these theories echo Derrida’s account of the double or divided structure of the event. It is contended that unlike much contemporary media imagery of war that circumscribes and directs interpretation, the photography addressed in this project delays, iv fragments or suspends cognitive resolution, thereby offering food for thought about the contentious topic of war. This is not to say, however, that these practices make a fetish of conceptual indeterminacy or open-ended meaning. This study will also present fresh insights into the different critical reflections on events of contemporary warfare posed by the photography of Ristelhueber, Norfolk and Delahaye. v Acknowledgments Firstly, I owe a huge thank you to my supervisor, Dr Toni Ross. This thesis would not have been possible without your support, guidance and unflinching perseverance throughout the ups and downs of the PhD process. Your academic rigour, meticulous editing and mentorship were invaluable. I am truly grateful for the time devoted and knowledge imparted to this thesis which I know went
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