Tags, Paul Strand
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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4. Rear Windows: Strand’s Backyards

In 1916, the same year that Paul Strand made his remarkable studies of lower-class types caught unawares by a disguised camera lens, he moved away from New York’s crowded streets to capture backyards visible from a bird’s-eye perspective.

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Veröffentlicht: 26.02.2015
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3. The Politics of Urban Planning: Strand at Midtown

The same year that Strand shot City Hall Park he took another, somewhat similar picture in a second prominent location, Fifth Avenue at 42nd Street, New York. Still perched above his subject but physically closer than he was in the courthouse north of City Hall Park, Strand was shooting from the second-floor window of Marius de Zayas’s Modern Gallery at 500 Fifth Avenue. The building is now gone, but from photographs it seems that he had to be behind a window (was it opened?) using a lens that radically compressed the width of Fifth Avenue and brought him nearer street traffic while catching a bit of a unfocused cornice in the lower left. mehr

Veröffentlicht: 18.02.2015
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2. Reading Strand’s New York Photographs: City Hall Park

In my last post, I suggested that we should rethink how we might read “politics” into the works of Paul Strand.  I put “politics” advisedly into quotes, because few photographs can translate specific political tenets or party lines into form. Apart from a unique photograph called “Skeleton and Swastika, Connecticut” contrived in 1938-39, Strand was no John Heartfield and never directly attacked scowling financiers or aggrandized noble workers in the fields in his still photographs. He remained above all an artist with a distinct social point of view, who recognized that the power to shift the public’s attention by forcing it to visually engage with the overlooked was his greatest gift. mehr

Veröffentlicht: 08.02.2015
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1. The Problematic Politics of Paul Strand

The recent retrospective exhibition of Paul Strand’s photographs, organized by the Philadelphia Museum of Art to celebrate its purchase of more than 3000 prints and lantern slides from the Paul Strand Archive at the Aperture Foundation and coming to the Fotomuseum Winterthur in March, provides an ideal moment to think about Strand’s contribution and how he has been fashioned as a master of “modernist” photography (if not the slippery status of not-for-profit institutions that sell donated works to raise funds, perhaps the subject of another blog). More particularly, my interest derives from the ongoing debates about Strand’s politics and its importance to his work. At the heart of these debates, I would argue, are critical assumptions not only about what “political photography” looks like, but about how we have defined the winners and losers in our efforts to write a history of avant-garde, twentieth-century photography. mehr

Veröffentlicht: 01.02.2015
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3. Excursus: Politics of the Victim

I mentioned in my first post that the rise of documentary discourses between the World Wars resulted from the political need to visibilize the working class in the new media culture corresponding to the era of mass democracy. Both in its “from above” (state/liberal/Griersonian/FSA) and in its “from below” (social movements/revolutionary/worker-photography) versions, documentary rhetoric contributed to this political need, in part through the dissemination of an iconography of a victimized working class.

The production of a poetics of dispossession is a key contribution from documentary methods emerging from the 1930s to social struggles for justice and democracy. Beyond the specific historical prewar context, I think this poetics was a central contribution to the 20th century universal citizenship democratic imaginary, which finds precisely a key historical iconic source in the worker-photography documentary project. I mean, the iconography of a fragile and precarious life is constitutive not only of the project of proletarian documentary, but is in the root of the poetic construction of democracy and justice. mehr

Veröffentlicht: 19.06.2014
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2. Paul Strand after Margaret Mead

In this second post I’d like to expand the scenario somewhat by introducing a few other possible significant references for an interpretation of the logics of the 1950s.

In 1949, Beaumont Newhall’s 1937 catalogue of the MOMA exhibition, Photography 1839-1937, appeared revised and enlarged as an autonomous book: The History of Photography from 1839 to the Present Day. Postwar liberal modernist photographic culture now had its foundational text, its Bible. Chapter 10 in Newhall’s book was devoted to documentary, and the genealogy it proposes on the subject remains as canonical as Newhall’s history itself. The genealogy is as follows: first we have the 1860s and 1870s geographical surveys as a pre-history of documentary. Then we have Jacob Riis as the precursor and Lewis Hine as the founding father of 20th century documentary photography, which reaches its complete and most self-aware form with the FSA. mehr

Veröffentlicht: 10.06.2014
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01.06.–15.07.2013
5. Image Couple

Of all the arcana produced by our collective obsession with Roland Barthes’ theory of photography in the book Camera Lucida, by the endless exegesis and investigation this text on photography seems to inspire, I find the following the most impressive. Buried in a footnote two-thirds of the way to the end of Eduardo Cadava and Paola Cortés-Rocca’s essay “Notes on Love and Photography,” a text first published in October magazine a few years ago, we read: mehr

Veröffentlicht: 16.07.2013
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3. Blind Spot

Not too long ago, I was combing through an antique store in a California town populated today mostly by the remnants of the counter-culture. There was a large selection of used books. To my surprise, I came across a copy of a monograph I had long wanted for my library, Mary Ann Caw’s volume on the photographer Dora Maar. Hippie villages, even post-hippie villages, always have the best bookstores. mehr

Veröffentlicht: 20.06.2013
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