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      <image:caption>(detail) John Dugdale, Death Mask of John Keats, 1999. Cyanotype.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Photograph of Silverman by Carrie Schneider, later amended by Eileen Neff to include Bobby and Freyja (2019/2021)</image:caption>
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      <image:caption>"Virtual stone by virtual stone, this project builds something that does not yet exist: a venue for looking at art together and in so doing, remembering what it means to be together."</image:caption>
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      <image:caption>The Blue World Gallery Template: The Gold Room, The Giotto Room and The Dark Room</image:caption>
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      <image:caption>The Blue World Gallery Template: The Gold Room, The Giotto Room and The Dark Room</image:caption>
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      <image:title>Photo-Archive</image:title>
      <image:caption>Silverman in front of MamaRay by Wangechi Mutu, MOMA, New York City, 2024 (Photograph taken by Austin Mayer)</image:caption>
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      <image:caption>Silverman in front of MamaRay by Wangechi Mutu, MOMA, New York City, 2024 (Photograph taken by Austin Mayer)</image:caption>
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      <image:caption>Silverman’s most recent  book, The Miracle of Analogy, which was published by Stanford University Press in March 2015, is the first installment in a three-volume reconceptualization of photography. Since this book is primarily concerned with photography as the agency through which the world reveals itself to us, it focuses on images in whose formation the photographer played only a nominal role: on the pre-optical camera obscura's images, and photographs made during the first three decades of chemical photography. And although Silverman discusses a number of works by contemporary photographers, they are all close in spirit to those of the nineteenth century photographers who figure most prominently in Miracle: William Henry Fox Talbot, Anna Atkins, and Julia Margaret Cameron. The second volume, A Three-Personed Picture, is about the gradual emergence of a very different kind of image:  one that is pictorial in nature. This picture has some very unusual features. It is double-sided, like all photographs, but in a new way: the two sides face each other, much as they do in Las Meninas.  They are able to do so because this picture is destined for the wall of a museum or gallery, instead of an album, a locket, or a mantle-piece. Unlike the camera obscura’s image-stream, which is a spatio-temporal continuum, or a conventional photographic image, which still belongs to this image-stream, although it has been “extracted” from it, the edges of this picture are absolute. It belongs to the here-and-now of the encounter that is “presupposed” by its visibility: the one that occurs when the beholder steps into the space before it, the space that constitutes its other side. The Three-Personed Picture not only has an author, it requires one, just as language requires a speaker, but it is also shaped by the objective intelligence of the world. Finally, it depends for its existence as much upon the sitter and the beholder as it does upon the author, and it links them to each other through a three-person chiasmus. Through this picture, the saving power of photography finally becomes not just ontological, but socio-ontological. The final volume in this trilogy, The Promise of Social Happiness, is focused on the re-emergence of pictorial photography in the second half of the twentieth century and the first decades of the twenty-first, through two closely-related forms:  photo-painting, and large-format photography.</image:caption>
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      <image:caption>Winner of the 2016 Outstanding Academic Title Award, sponsored by Choice. Honorable Mention in the 2016 PROSE Awards (PSP Awards for Excellence), sponsored by the Professional and Scholarly Publishing Division, Association of America Publishers Reviews: ARTFORUM, Prefix Photo, Critical Inquiry, Art Libraries Society of North America, Bartleby Review, non-site. Homay King's review of The Miracle of Analogy, written for the book's launch at Slought in Philadelphia is available here. Watch the MoMA Forum on Contemporary Photography with Kaja Silverman, André Dombrowski, Eve Meltzer, and Howard Singerman discuss the first volume of    The Miracle of Analogy.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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    <lastmod>2017-08-20</lastmod>
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      <image:title>Still/Moving</image:title>
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  <url>
    <loc>http://www.kajasilverman.com/essays-in-words-and-images</loc>
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    <lastmod>2017-12-20</lastmod>
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      <image:title>Essays in Words and Images</image:title>
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    <loc>http://www.kajasilverman.com/upcoming-events</loc>
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    <lastmod>2018-05-08</lastmod>
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      <image:title>Virtual Exhibition: More Than Private</image:title>
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    <image:image>
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      <image:title>Virtual Exhibition: More Than Private</image:title>
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    <image:image>
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      <image:title>Virtual Exhibition: More Than Private</image:title>
      <image:caption>Finally, although each woman is reading a book of her own choosing, all of the books were written by older women. Each photograph is thus the building block for a new and desperately-needed kind of feminism: one based on trans-generational transmission. Together, the readers are also creating a new kind of canon—one shaped by the passions and predilections of a provisional assemblage, rather than the almost-always false consensus of a formal assembly.</image:caption>
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      <image:title>Virtual Exhibition: More Than Private</image:title>
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    <image:image>
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      <image:title>Virtual Exhibition: More Than Private - Carrie Schneider, from the series Reading Women (2012-2014)</image:title>
      <image:caption>Like the story recounted by Rilke, Reading Women is about a group of readers, but instead of a handful of mostly French and presumably all-male luminaries, this group is made up of a hundred young women, and instead of gathering them together in the same room, to talk about a single book, Schneider gives each reader a room of her own, a photograph of her own, and a book of her own. Since she waited until each reader was engrossed in her book before photographing her, there is also a strange weave of two other kinds of interiority in the photographs: of the “inside” of a book, and the “inside” of a mind. And both formally and in many other ways, Reading Women recalls the similarly-engaged women in some of Vermeer’s interiors. What, we wonder after looking at a few photographs, makes this series more than private? What differentiates it from the paintings it so richly evokes?</image:caption>
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      <image:title>Virtual Exhibition: More Than Private</image:title>
      <image:caption>This question, as we soon see, is built into the series, because Reading Women is not just about reading; it is itself a reading — a reading of women reading. It also invites us to read Schneider’s reading. And once we begin to do so, we realize that although there is only one woman in each photograph, there are always at least three women in the room: the reader, the author whose book she has chosen to read, and the photographer. And because Schneider is invisible, although present, it becomes increasingly evident that there is “more” to see than we are being shown. This holds the photographs open, in an almost cinematic way, makes each a call for another.</image:caption>
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      <image:title>Virtual Exhibition: More Than Private</image:title>
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      <image:title>Virtual Exhibition: More Than Private</image:title>
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    <lastmod>2024-01-14</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/abefa668-c620-4eab-aa99-68aac3728c6a/promise+of+social+happiness+med.png</image:loc>
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      <image:caption>Cover image by Walid Raad</image:caption>
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      <image:caption>Cover photograph by John Dugdale</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/ac0cfcf1-dbbf-4dbf-ae7c-2139165198d2/Flesh+of+My+Flesh+400.jpg</image:loc>
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      <image:caption>Cover image: Gerhard Richter, Betty (1977).</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/bedfab2b-397b-4de3-8773-939fd7255cfd/James+Coleman+400.jpg</image:loc>
      <image:title>Publications</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/f7adacf3-99eb-432a-965b-0eb77a81d6e0/World+Spectators+400.jpg</image:loc>
      <image:title>Publications</image:title>
      <image:caption>Cover photograph by Ulla Ziemann</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/81994ca9-17d5-41d7-bf37-a44e3745250c/Speaking+about+Godard+400.jpg</image:loc>
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      <image:caption>Cover image from Godard's Alphaville (1965)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/b435017d-e139-481f-a1e5-d3c4dd2f7270/The+Threshold+of+the+Visible+World+400.jpg</image:loc>
      <image:title>Publications</image:title>
      <image:caption>Cover photograph by Edward Steichen</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/989eef3f-383f-40f9-ad9e-3825ca34eb89/Male+Subjectivity+at+the+Margins+400.jpg</image:loc>
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      <image:caption>Cover image: Mantegna's St. Sebastian (1480)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/4fe39c6b-cc55-47e9-b23c-7d4dfa5b564b/The+Acoustic+Mirror+400.jpg</image:loc>
      <image:title>Publications</image:title>
      <image:caption>Cover image from Laura Mulvey and Peter Wollen's Riddles of the Sphinx (1977)</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/14a72b89-60a9-41e3-88d5-25db53edcf4a/The+Subject+of+Semiotics+400.jpg</image:loc>
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    <loc>http://www.kajasilverman.com/more-than-private-carrie-schneider</loc>
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    <priority>0.75</priority>
    <lastmod>2018-01-16</lastmod>
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      <image:title>More Than Private: Carrie Schneider</image:title>
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    <image:image>
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      <image:title>More Than Private: Carrie Schneider</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1512451109808-LTOUYU944LHK6UY4S2XP/_X7A0318.jpg</image:loc>
      <image:title>More Than Private: Carrie Schneider</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1512450002265-Z87W62KLG4Y3ELKE1GPG/_MG_9248.jpg</image:loc>
      <image:title>More Than Private: Carrie Schneider</image:title>
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      <image:title>More Than Private: Carrie Schneider</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1512451105459-A546ZV57BJ940B4ET20M/_X7A0290.jpg</image:loc>
      <image:title>More Than Private: Carrie Schneider</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1512449910112-VPO16LLX0BFUHLF4FPU8/_MG_9263.jpg</image:loc>
      <image:title>More Than Private: Carrie Schneider</image:title>
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    <image:image>
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      <image:title>More Than Private: Carrie Schneider</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1512449975813-SUVCKH0NO47W9LQJ6YDT/_MG_9254.jpg</image:loc>
      <image:title>More Than Private: Carrie Schneider</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1512450798991-7FGEWBHAIBE492EZYLF3/_X7A0298+copy.jpg</image:loc>
      <image:title>More Than Private: Carrie Schneider</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1512449931619-2KBDLE6W86B9W8M1RX2D/_MG_9266-Edit.jpg</image:loc>
      <image:title>More Than Private: Carrie Schneider</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1512450794860-ULVZ458A75ZVUP1AL42W/_X7A0312.jpg</image:loc>
      <image:title>More Than Private: Carrie Schneider</image:title>
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  <url>
    <loc>http://www.kajasilverman.com/new-page-2</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2018-07-31</lastmod>
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  <url>
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    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2022-12-26</lastmod>
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      <image:title>Homepage2</image:title>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/fc8168aa-a75f-4f8b-a285-b9d0c5da1565/Kaja-Silverman-hero-1230x615.jpeg</image:loc>
      <image:title>Homepage2 - Make it stand out</image:title>
      <image:caption>Photo: Andrew Moisey</image:caption>
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  <url>
    <loc>http://www.kajasilverman.com/bio</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-03-02</lastmod>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1670966227873-J0IOIRD2BRRQAK8JB20B/Kaja-Silverman-hero-1230x615.jpeg</image:loc>
      <image:title>Bio</image:title>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/56847af4-a371-4322-ba39-74a15222e57b/kaja-with-bob-ousterhout2.jpg</image:loc>
      <image:title>Bio - Make it stand out</image:title>
      <image:caption>In memory of Robert Ousterhout 1950-2023 Kaja Silverman with her dear friend and colleague Robert Ousterhout. Photograph by Lily Rodriguez (Philadelphia 2020)</image:caption>
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  <url>
    <loc>http://www.kajasilverman.com/homepage</loc>
    <changefreq>daily</changefreq>
    <priority>1.0</priority>
    <lastmod>2026-02-03</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1670966227873-J0IOIRD2BRRQAK8JB20B/Kaja-Silverman-hero-1230x615.jpeg</image:loc>
      <image:title>Homepage</image:title>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/110ea317-1a0f-46da-8ba8-349ea474a281/IMG_9378.jpeg</image:loc>
      <image:title>Homepage - Make it stand out</image:title>
      <image:caption>Kaja Silverman in front of The Park by Gustav Klimt, MOMA, New York City, 2024 (Photograph taken by Austin Mayer)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/a6a0822d-ebcf-4ff5-b776-4383fdb01799/bw-cover.jpg</image:loc>
      <image:title>Homepage - Make it stand out</image:title>
      <image:caption>Cover image for promotional brochure, featuring installation view of Eileen Neff’s work in Habitations (2024-2025)</image:caption>
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  <url>
    <loc>http://www.kajasilverman.com/research</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2024-01-16</lastmod>
  </url>
  <url>
    <loc>http://www.kajasilverman.com/photo-gallery</loc>
    <changefreq>daily</changefreq>
    <priority>0.75</priority>
    <lastmod>2025-06-24</lastmod>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1744239008294-I8MKVVKBCWCJ1RWS6FY1/IMG_9350.JPG</image:loc>
      <image:title>Photo Gallery</image:title>
      <image:caption>Silverman in front of MamaRay by Wangechi Mutu, MOMA, New York City, 2024 (Photograph taken by Austin Mayer)</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/4cabf228-45c2-4ddf-b5e5-f9b1e63c48b5/image-asset.jpeg</image:loc>
      <image:title>Photo Gallery</image:title>
      <image:caption>Ja’Tovia Gary, Isaac Julien and Kaja Silverman in conversation before the Looking for Langston (1989) screening during the Poetic Cinema: Isaac Julien and the Sankofa Film &amp; Video Collective programmatic series. Photograph by Derek Rigby. Courtesy of the Institute of Contemporary Art, University of Pennsylvania.</image:caption>
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    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/56847af4-a371-4322-ba39-74a15222e57b/image-asset.jpeg</image:loc>
      <image:title>Photo Gallery</image:title>
      <image:caption>Silverman with the late Robert G. Ousterhout</image:caption>
    </image:image>
    <image:image>
      <image:loc>https://images.squarespace-cdn.com/content/v1/541347f7e4b07804ec76187a/1704221984293-XMT2JVDMCMJGW5QEJ7NH/IMG_3304%2BcopyE.jpg</image:loc>
      <image:title>Photo Gallery</image:title>
      <image:caption>Kaja Silverman with artist John Muse during her visit to his exhibition, "Extra Medium," curated by Homay King. (Cantor Fitzgerald Art Gallery, Haverford College, September 2023)</image:caption>
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