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• W295594009 abstract "FIRST LIGHT: TEACHING PHOTOGRAPHY IN KABUL SCHOOL OF VISUAL ARTS NEW YORK, NEW YORK OCTOBER 21-NOVEMBER 12, 2005 The press release began, School of Visual Arts (SVA) presents 'First Light: Teaching Photography in Kabul,' an exhibition of the first Afghan students to learn photography and darkroom since the fall of the It continued to tell us of Masood Kamandy, the SVA graduate who organized and taught the class, trained teachers to replace him, and returned to New York with his students' work, hoping to raise money to get his program going full force. Because this exhibition is not so much about photography as it is about pedagogy, I've decided to treat it not as art, but as evidence. I'm not going to call out individual works, for in this case I feel that the issues of the exhibition relate to how one teaches photography, how one raises money to teach photography, and the pitfalls we find when these two motivations overlap. We are told the photographs are the work of beginners, of people with no experience taking photographs. We see evidence of amazement spawned from the rudimentary phenomenon of photography--light made still, the moving made motionless, facial expression caught mid-turn. And we see it without the inclination for this to reflect an ideological position or conundrum. We see it without the inclination to respond to light and image in more substantive way than simple, dumbfounded love. First Light feels like pat on the back for recognizing that the students of Afghanistan deserve to be taught photography, which brings us to the point: pedagogy. First Light is an exhibition with an upfront ideological position. The exhibition is evidence of the classroom, evidence of the desire to allow and promote photography, and evidence of the desire on the part of each individual for free expression. It is also an affront to the Taliban. [ILLUSTRATION OMITTED] Kamandy's curatorial statement claims only meekly the project's obvious arguments against the Taliban and for photography. It focuses rather on that terribly vague and significant notion: free expression. The harsh reign of the Taliban is only furtively mentioned, and photography is positioned as merely a toward expression chosen above all other tools for its immediacy. But photography is not immediate. Photography is, despite the digital age, marked by its evidentiary status. It is an extraction from narrative, and it is ultimately the peripheral narrative that shapes its interest. Admittedly, photography is, perhaps, efficient, at least from the point of view of the pedagogue. Furthermore, photography is not tool. It is medium. The tool that acts upon this medium and all others, the tool that makes picture and human being have something to do with each other, is critical thinking. Teaching basic photography and darkroom techniques could just as well be called teaching trade as it could be called teaching the means to expression. I'm not inclined to believe the myth that seeing photograph taken by an Afghan is to see Afghanistan through Afghan eyes. This is bad poetry and worse pedagogy. To teach photography is not necessarily to teach critical thinking, though of course it could be. But to claim that photography inherently supports the democratization of expression (as First Light claims) is the same as claiming that training an army promotes peace. Following statements like these, I am obliged to offer solution to the question, how can one teach critical thinking? The short answer is that educators should promote experiments in minor anarchy. …" @default.
• W295594009 created "2016-06-24" @default.
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• W295594009 date "2006-01-01" @default.
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• W295594009 title "Pedagogy and Charity" @default.
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