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Photography degree zero: reflections on Roland Barthes's Camera Lucida

industry combination’ (160–161). The marriage of art and architecture is clearly and concisely illustrated by way of the ten ‘projects’ that intersperse the various discussions – single page inserts, each one describing the histories and functions of such buildings as the Parisian École des Beaux-Arts, Black Mountain College in North Carolina, the Yale Art and Architecture Building in Haven, and the Bauhaus. The final contribution is a letter written by Ken Lum to Steven Madoff, which begins with a confession as to the difficulty he faced when trying to figure out what to write for the book, but which nevertheless unfolds as a candid discussion about the relationships between art and life as he has experienced them. Lum pushes the point that an all too common assumption about the accessibility and democracy of art belies ‘the fact that art is an insular enterprise subject to specificities of time and place. If this insularity is removed, then great things can happen for art and the art school environment’ (339). It brings us back to Groys’s notion of art education as benefiting from infection by the cultural contexts in which emerging practitioners operate and reinforces one of the overall missions of Art School, which is to provoke open and ongoing debate on the frustrations, hopes, and not least of all the kinds of knowledge that contribute to an art education. It is in this way that Art School offers the reader a wide array of propositions for this century – new ways of thinking about what it means for a person to conduct his or herself creatively in the world.