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Camerawork: A Journal of Photographic Arts Spring/Summer 2006, Volume 33, No.1 Ghosts in the Machine Table of Contents • In This Issue $8 each (no discount) [Add to Cart]  table of contents 1. In This Issue by Chuck Mobley 04. Ghosts in the Machine by David Spalding 12. Beings Between: Tony Oursler's The Influence Machine As Hauntological Practice by Louis Kaplan 22. The Disasters of War by Avery F. Gordon 30. Through the Eyes of Rachel Marker by Moira Roth 38. Jeremy Blake: Winchester Exhibition Review by Trena Noval 41. The Perfect Medium: Photography and the Occult Book Review by Cassie Riger in this issue: Four years ago, guest editor and curator David Spalding wrote a thesis titled “Ghosts Among the Ruins” for his MA in visual criticism at California College of the Arts. A year later I invited him to develop his ideas and interests into an exhibition. This issue of Camerawork is the culmination of that years-long project. Spalding’s thesis examined the unique position artists are in to be able to channel the past, through various media, in ways that inform the present. Forgotten or unknown traumatic photographic histories can be unfolded in contemporary art in a way that makes the medium seem almost prescient. What is not seen is often as relevant as what is. In this issue, art historian Louis Kaplan analyzes how technology, as used in Tony Oursler’s The Influence Machine, generates a haunted space between life and death. Sociologist Avery Gordon considers how we come to an understanding of war through the haunting and harrowing impact of its images. Artist and art historian Moira Roth melds history and fiction as she follows a young woman making her way through Berlin, Prague, and Zurich between two wars. The accompanying photographs are more than illustrative historical reminders—rather, they are the residue of the time and space in which they were made brought forth to infuse the present with new meaning. By the time this issue reaches its audience, Camerawork will have moved into its new location on Mission Street in San Francisco. Still in the South of Market neighborhood in which it has always thrived and on the second floor (as seems to be tradition), yet this time with an elevator! Only a few months prior to signing the lease on this new space, in September of last year, Camerawork’s board of directors appointed a new executive director: Robert R. Riley. This is the organization’s fifth location and fourth executive director in 31 years. We are truly blessed to have secured an appropriate home of our own and extraor­dinarily fortunate to have a continuance of strong and creative leadership. After many years of service on Camerawork’s board of directors, several as president, Tom Meyer retired this spring. He has seen Camerawork through many changes—some painful, others triumphant—in an always unfailingly confident, indefatiga­ble, and most able manner. Camerawork has known many gifted and generous board members in its history; few have shared Tom’s level of selfless commitment to the organization’s long-term stability. We are forever in his debt. As editor, it is a rare and lucky thing to have an easy, seemingly effortless, working relationship with a copy editor and a de­signer—two of the most overlooked key contributors to any publication. I know that I extend thanks on behalf of everyone who has written for Camerawork when I point to Mark Chambers’ subtle and exacting editing expertise. And I am, as always, grateful to designer Anthony Laurino; for it is through his talented hand that Camerawork is afforded such a thoughtfully and exquisitely rendered journal.   Chuck Mobley Associate Director San Francisco Camerawork    return to past issues of Camerawork journals home | about | exhibitions | bookstore | events | membership | journal | mentoring | links Copyright 2006. SF Camerawork. All Rights Reserved.