Tags, Becher
15.09.–31.10.2012
4. Photography and Authorship

My previous post touched on the complications that arise from photography’s dependence on a negative-positive system of reproduction, a system that divides the photograph from itself but also divides the act of photographing into a number of separate elements, each of them able to be undertaken by different workers. The authorship of individual photographs is therefore often a collective enterprise stretched over a considerable time period, even though this fact tends to be repressed in our historical accounts of photography. Those histories instead privilege individuals and the logic of individualism and this allows them to avoid having to address the complexity of authorship in all its various manifestations. mehr

Veröffentlicht: 07.10.2012
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5. The Tyranny of Context

I have been looking at two things together. First, the excellent Duke University website that collects the photographs, handmade photobooks and notebooks of the photographer, William Gedney (1932-1989), who made a large body of work in India during two extended visits in 1969-71 and 1979-80. Second, the catalogue of the big "India show" last year at the Pompidou Centre, Paris, called Paris-Delhi-Bombay... mehr

Veröffentlicht: 28.03.2012
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15.01.–29.02.2012
3. Order

When I recently visited the Diane Arbus exhibition in Paris (to be shown at Fotomuseum Winterthur from March 3 till May 28, 2012), I realized to a greater extent than ever before that Arbus in effect stages a photographic order of the world in a highly ostentatious manner. She uses photography to define, critique, and ultimately subvert the order of the world, which, in and of itself, is only first perceived and shown through photography. If one were to create a list of her criteria for this order, it would be long: fat - thin, young - old, person - doll, alive - dead, original - copy, black - white, face - mask, naked - clothed, idyll - horror, war - peace, inside - outside, singular - double, observed - observing, human - animal, friend - foe, original - copy, tragedy - comedy, private - public, dwarf - giant.  mehr

Veröffentlicht: 29.01.2012
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1. Imperfection

In looking at both contemporary exhibitions as well as photographs as they are used in everyday aesthetic applications, one notices that imperfection plays a key role. Far removed from the ideals of the Group f/64, New Objectivity, or even the Bechers and their school, to name a few positions, photographs that consciously employ technical errors have become common sense in photography. There are photographers who use deficient cameras; Lomography aficionados sell their photographs along with this type of camera in stores in major cities; snapshots are in demand, and blurriness is the aesthetic rule. Imperfection is the new ideal of contemporary photography, even if celebrated, staged, and represented in a kind of perfection. My thesis is that imperfection serves as the contemporary modus of the real in photography. mehr

Veröffentlicht: 11.01.2012
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