Spenden

Still Searching… gäbe es ohne die vielen Unterstützer_innen nicht. Wenn Sie den Blog regelmässig lesen oder wenn Sie ein Beitrag positiv überrascht hat, spenden Sie bitte noch heute. Das Fotomuseum ist dankbar für Ihre Unterstützung!

4. Many Pictures Make an Image

A snapshot, if Merriam Webster may be allowed to provide a provisional reference, can be described as “1: a casual photograph made typically by an amateur with a small handheld camera,” and/or “2: an impression or view of something brief or transitory.” As it turns out, this blog series takes a quite literal approach to its title. mehr

Veröffentlicht: 21.09.2020
0 Kommentare
3. Framing Queer, Queering Frames

“There is no non-violent way to look at somebody” proclaimed the title of Wu Tsang’s solo exhibition, which ran at Berlin’s Gropius Bau earlier this year. If this act of looking is captured, as photography is notoriously capable of doing, we are confronted with a multitude of problems. Potential pitfalls loom in the functional design of the medium: An imbalance of power between subject and object of the gaze, the affirmative reinforcement of prevailing views as much as the potential exposure of vulnerable targets to violent looks and oppressive regimes.
mehr

Veröffentlicht: 09.09.2020
0 Kommentare
2. Act and Position

Following up on the previous discussion of how Things Are Queer as part of the first entry of this blog series, Duane Michals’ artwork can be interpreted as an appeal to the beholders to resist falling into the trap of essentializing reason. Rather than identifying any certain object as queer, the viewers were invited to explore perception beyond recognition, thus dissolving the narrow framework of expectation. Michals’ critical dismantling of the reception process indeed prevents us from ascribing the attribute ‘queer’ to the responsibility of the Other mehr

Veröffentlicht: 21.08.2020
0 Kommentare
1. Nurture the Seed

In 1973, the US-American artist Duane Michals completed an inconspicuous series of photographs, its title stating the simple assertion that Things Are Queer. The beholder is confronted with nine small black and white photographs, arranged in a grid-like pattern. What ‘things’ are being addressed here remains obscure, however, as well as how their supposed queerness might be enacted. mehr

Veröffentlicht: 05.08.2020
0 Kommentare
05.08.–30.09.2020

Queer perspectives – artistic, academic, activist or otherwise – are gaining increased attention within institutions and public forums engaged in art and (visual) culture. Emerging from a subcultural environment, i.e. often through minority groups and in opposition to prevailing positions in both theory and practice, this momentum is a precarious, at times even contradictory event. Queer discourse poses a substantial challenge to normative structures of the supposedly common, not offering final solutions or relief while being vulnerable to appropriation, commodification, and domestication. This attitude of taking a specific point of view finds an equivalent in the visual form of photography. Through constant artistic or curatorial framing and reframing, however, the medium offers a particular affinity to queer endeavors. Directing the gaze to queer subjects or rendering queer ways of seeing and perceiving thus takes advantage of the inherent qualities of photography as a projective apparatus. This blog series sets out to explore the manifold angles and separate layers by and on which queer leverage might break with the confines of normative frames and perspectives.

Serie anzeigen
5. Collaborations

When Fotomuseum Winterthur invited me to contribute to its blog “Still Searching…,” I had no hesitations regarding the topic I wanted to suggest. Indeed, we are still searching – for suitable forms of historiography for the photographic. I should be more precise: we are still searching just because it will be impossible to end such a search. Our subject – so broadly addressed as ‘photography’ – is remarkably diverse and complex. mehr

Veröffentlicht: 15.07.2020
0 Kommentare
4. Leaving the Book Behind

When I started writing this blog series a couple of weeks ago, we all were busy with very different things than photography and photo history – and we still are. The current pandemic is shaping our lives in previously unimaginable ways. In the strict sense of the word, there is no photograph of the virus itself. Yet, in this current situation, photography plays anything but a minor role: Pictures are currently an especially important tool for our day-to-day orientation. mehr

Veröffentlicht: 30.06.2020
0 Kommentare
3. Lowering the Sights?

Right at the beginning of my blog series, I asked: Do you read histories of photography? Having myself in mind, I suggested an answer: rather not, at least not from cover to cover. In my second post, I focused on a particular model of writing photo history that I attributed to Beaumont Newhall and his interest in an art historical point of view. Despite forty years of criticism directed at this model, it seems to be hard to conceive alternatives. mehr

Veröffentlicht: 04.06.2020
1 Kommentare
2. Beyond Newhall?

We don’t have to beat around the bush: the photo historian, curator, and university teacher Beaumont Newhall has not enjoyed an excellent reputation for quite a while now. 1982 seemed to mark a watershed for him. mehr

Veröffentlicht: 06.05.2020
1 Kommentare
1. The Bigger Picture

Do you read histories of photography? I am not referring to casual reading – an article here, an essay there. Rather, I mean whole books or even tomes. Perhaps I should ask more precisely: Have you ever read a “History of Photography”? From cover to cover? mehr

Veröffentlicht: 23.04.2020
0 Kommentare
Aus der Series
Future Histories
23.04.–15.07.2020

In his blog series “Future Histories,” Steffen Siegel discusses various problems of older and more recent historiographies of photography – and how to go beyond them. Photographic image-production and the medium’s historiography share almost the same age. However, compared to photography’s innovative or even revolutionary visual strategies, the forms of writing about its history have remained surprisingly traditional. Photography Studies always have been a nomadic enterprise within an interdisciplinary environment. Nevertheless, there is a risk of taming these research activities by adopting models and genres from other academic disciplines. This blog series is an invitation to discuss the following questions: How can we arrive at new ways of reflecting on photo history? How can we create a bigger picture without just writing another compendious book? Thus, how can “Future Histories” lead to different ways of representing the medium’s history?

Serie anzeigen