Tags, theory
23.04.–15.07.2020
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
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01.03.–15.04.2014
3. Scripts

In the last post, I proposed that 21st Century “photography” has come to encompass so many different kinds of technologies, imaging apparatuses, and practices that the kinds of things we easily recognize as photography (cameras, film, prints, etc.) now actually constitute an exception to the rule. I proposed a much broader definition – seeing machines. The point of having such an expanded definition is to help us notice and recognize the myriad ways in which imaging systems (including traditional cameras), and the images they produce, are both ubiquitous, and actively sculpting the world in ways that were unimaginable just a few decades ago. Moreover, I proposed that classical photo theory is of little use, and may indeed actually hinder, a broad understating of contemporary imaging systems. mehr

Veröffentlicht: 24.03.2014
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2. Seeing Machines

In my last blog post, I sketched out some of the ways that traditional photography theory and practice seems to be at a standstill. Contemporary revolutions in photography, from omnipresent digital picture-taking to the advent of hundred-billion image repositories have prompted some practitioners, theorists, and critics to ask whether “photography” (at least as it was once understood) “is over.” I noted that the question has arrived at an ironic time – how could photography be “over” at the exact moment in history that it has achieved an unprecedented ubiquity? mehr

Veröffentlicht: 13.03.2014
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1. Is Photography Over?

A few years ago, the San Francisco Museum of Modern Art held a conference about photography – for a photo conference, it had the odd title “Is Photography Over?.” Curators Sandra Phillips and Dominic Wilsdon posed the question as a challenge to panelists, audience members and the world at large. The two-day symposium was an attempt to shake up conventional institutionalized discourses about photography and to be an opportunity to think about what, if anything, has “changed” about photography over the last decade or so.

From my point of view, the fact that the world’s leading photo-curators would even pose such a question turned out to be more illuminating than most of the symposium’s content. Wilsdon and Phillips’ provocation reflects a deep-seated uneasiness among photo-theorists and practitioners about the state of their field. mehr

Veröffentlicht: 03.03.2014
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