Pointing the camera at the Israeli Separation Barrier-Wall involves a fundamental paradox: no matter how critical we are of its construction, once we choose to photograph it, we are colluding with its construction and preservation. Photography is related directly to proving that something exists and to memorializing the presence of places that have been built or destroyed.
About Meir Wigoder
Meir Wigoder received his PhD from the Department of Art History at the University of California at Berkeley in 1993. He teaches the theory and history of photography at the School of Communication, Sapir College, Sderot, and at the David and Yolanda Katz Faculty of the Arts at Tel Aviv University. As a theorist and a practicing photographer he writes mainly on the representation of the Israeli-Palestinian conflict in photography and the media. He is currently working on a book in progress about the pensive viewer and the thought-image in photography. His writings have appeared in Critical Inquiry, Public Culture, Third Text, Parallax, Journal of Architectural Historians, History of Photography, Psychoanalytic Review, History and Memory, and Journalism: Theory, Practice and Criticism. His latest articles appear in two book compilations: "The Grounds of the Violent Image in Israel’s ‘Cast Lead’ Operation in Gaza," in The New Violent Cartography, ed. Sam Okoth Opondo and Micael J. Shapiro, Routledge Press, 2012; and "The Digitized Death of Colonel Gaddafi and the End of Photography," in The Versatile Image: Photography in the Era of Web 2.0, ed. Alexandra Moschovi, Leuven University Press, 2013, pp. 134–150 (forthcoming).