Tags, change
5. Beyond Paul Strand: What Can Radical Photography Be?

I started this blog by posing some questions about the arbitrariness of dividing Paul Strand’s career into a late period of political subject matter and activism and an early period that seemed devoted primarily to formal concerns. Certainly, this is something of a straw man, because most of us would agree that the visual arts are inherently about shaping matter, with all its inherent recalcitrance, into form, regardless of the desired or received “meaning” of that shaped form. The other problem is, of course, what we intend by the terms, “political subjects” or “political art.” The gathering together of any people into a governing unit begins to constitute the body politic, so that virtually all social life in some sense can be read as “political.” However, historically we distinguish “political art”—art that is intentionally made to express a political party line or promote a particular government or policy position—from art that can be read as confirming a location within conflicting ideologies (which may cut across formal party platforms or regimes).  This latter sense of art as functioning politically and representing certain values that can be decoded has driven much of the social history of art in the past fifty years and is what I was striving to uncover in Strand’s enigmatic urban views. mehr

Veröffentlicht: 10.03.2015
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01.06.–14.07.2012
2. An Anti-Archival Impulse

In this post, I want to continue the reflection on how photography can today serve as a contributing motor for social change by turning our attention to the photographic archive. I would like to focus on a concrete example, the long-term project Theory of Justice initiated by the artist Peter Friedl in 1992. This work is composed from the artist’s vast collection of newspaper and magazine clippings. A specific selection of black-and-white photographs was published as an artist’s book in 2006. mehr

Veröffentlicht: 11.06.2012
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