Tags, institution
5. The Spectre of the Digital

I finished my last post thinking about shifting notions of ‘importance’ and ‘relevance’. This has, in part, been driven by digital technologies and the financial, socio-political and ethical pressures on institutions to give access to their collections, and in ways that connect to contemporary users. Likewise the massive and ever-increasing swirl of images in circulation is, of course, digitally-based, raising very real questions about the very nature of ‘photography’. mehr

Veröffentlicht: 20.10.2016
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3. More on Categories

This week I want to pick up on the question of categories which has resonated through my last two posts on institutions, hierarchies and non-collections. The extent to which the categories of disciplinary landscapes and languages shape research was brought home to me forcibly when last year I contributed to an ‘at the print’ class for art history students. We were in Pitt Rivers Museum in Oxford, a major and politically savvy anthropology collection. We pulled from the collection Julia Margaret Cameron’s famous portrait of Charles Darwin. Despite having ‘done’ a Cameron class some weeks before, the students seemed unable to recognise it in any way. mehr

Veröffentlicht: 03.10.2016
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2. The Presence of Non-Collections and the Challenge of Photographic Ecosystems

I recently attended a leaving party for a museum photographer of some 30 years service. The usual orations were accompanied by a digital slide show of his work over those last 30 years during which he had excelled in a range of museum demands. He made bundles of sticks look exciting and provided photographs of masks, chests or totem of such technical precision and virtuosic lighting that First Nations carvers in Canada could reconstitute the haptics of their traditional carving practices – retracing chisel marks. It was also a slide show of how a museum sees itself and how it performs its objects. Yet these photographs were, until that moment, invisible as a photographic practice, and above all, they are not understood as part of the photograph collection at that institution. They are non-collections, ‘just there’, everywhere and nowhere. mehr

Veröffentlicht: 23.09.2016
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1. Patterns of Collecting, Institutional Mind-Sets and the Problem of Hierarchies

A few years ago I was talking to a curator of social history in a major British public museum service which I knew held substantial collections of photographs of the local region going back to the 1850s. I asked him how he thought about these photographs in his care, and how they related to the museum’s ethos and activities. To this he responded “well I don’t really – they are just there”. I have been thinking about the ‘just there’ quality of photographic collections ever since. How is it that a body of material, maybe 35,000 glass plates, of substantial importance in regional history can be ‘just there’? How are the tensions of specialness and ubiquity negotiated through institutional practices? mehr

Veröffentlicht: 15.09.2016
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5. Photography versus Contemporary Art: What’s Next?

We have reviewed several aspects of the highly competitive—even love/hate—relationship between contemporary art and photography. Is there anything left to say? Perhaps something about the future of both. They will hardly be able to avoid each other. mehr

Veröffentlicht: 16.12.2014
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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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4. Aesthetics and Distribution Case (1): Preliminary Notes on Art’s Ability to Radicalize Academia

“…each encounter produces a new position of assemblages, even as it simultaneously defines a new use for these assemblages” -Gilles Deleuze

In this posting, I would like to pursue an earlier tangent, and redirect it. If we start with the idea that a medium is constituted by a dialectic of applied use and technological development, and that it is further defined by the conventionalization of the relationship between the two (a process that occurs over time and is in a state of constant revision) it follows that a medium is never freed from its use, nor is it freed from its position between some agents in a transaction, meaning that it can never stand apart from these conditions. mehr

Veröffentlicht: 07.05.2012
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