Tag, 21st Century
06.03.–30.04.2017
1. Photography and Migration: Keywords

To consume international news today is to experience one facet of photography’s relationship to human migration. Daily we confront photographs of overcrowded boats and trains; life preservers and backpacks, with or without their human users; fences, tents, and other spaces of containment or restriction; outstretched feet and hands; young children in the arms of parents or strangers; anguished, angry, vacant faces; and countless bodies arranged in lines, standing still or moving forward. more

Published: 06.03.2017
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3. Photography versus Contemporary Art: The Case of the Lecture Performance

There is less and less photography (and photographers) in contemporary art exhibitions, but more and more photographs. The photograph is a lens through which we see the contemporary world, which comes to us always already reproduced. Almost every static image we see these days is technically a photograph, since even art critics rarely cross paths with original paintings. In a contemporary art context, photographs abound in “research installations” and archival displays of all sorts; they are shown as a sequence of slides; they appear as stills in films. But recently, they have even begun to star in performances—for instance, in the increasingly popular genre of “lecture performance.” more

Published: 28.11.2014
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1. Photographers versus Artists: A Colonial Story?

In this blog, I will explore—in a necessarily fragmented way—some of the paradoxes inherent to the complex relations between photography and so-called contemporary art, as seen through the eyes of a curator, a writer, and, in the first place, a teacher, since for almost a decade I have been teaching at a school that educates both photographers and artists. Just as an aside: The Rodchenko Moscow School of Photography and Multimedia is a small postgraduate or, rather, alternative art school—set in a country where professional art education still produces mainly nineteenth-century-like academic painters, and photography is being taught widely, but in its purely commercial iteration. more

Published: 01.11.2014
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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. more

Published: 24.03.2014
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