Nicht nur die Fotografie, sondern auch ihre Theorie und Geschichtsschreibung erfahren unter digitalen Bedingungen eine radikale Erweiterung. Fotografische Medien und Formen sind in komplexe technologische, kapitalistische und ideologische Netzwerke eingebunden; Expert_innen, die die Rolle fotografischer Bilder wissenschaftlich untersuchen, kommen entsprechend aus ganz unterschiedlichen Disziplinen. Die Erweiterung des Diskurses um fotografische Bilder bildet sich auch auf dem Theorie-Blog Still Searching… des Fotomuseum Winterthur ab, der sich seit 2012 interdisziplinär mit allen Aspekten der Fotografie und ihrer Rolle in der visuellen Kultur beschäftigt. Eingeladene Blogger_innen des Online- Formats bewegen sich an vorderster Front der Forschung und schärfen unseren Blick für die aktuellen und relevanten Fragestellungen rund um die Fotografie.
Tanya Sheehan | 06.03. – 30.04.2017
Photography and Migration
The photographic medium has played an important role in the movement of people, objects, identities, and ideas across time and space, especially in the human crossing of geographical and cultural borders. Scholars have shown how cameras documented, enabled, or controlled such forced or voluntary movements, while photographers have attempted to put a face on immigration around the world, making visible its associations with transition, displacement, hardship, and opportunity. In this blog series, Tanya Sheehan reflects on the relationship between photography and migration in the twenty-first century by considering photographs in the global migration crisis as well as within her own local, community interventions. Framing her discussion are keywords in photography and migration studies: diaspora, refugee, (im)mobility, and border.
Melanie Bühler | 16.03. – 30.04.2015
Ideas about the Contemporary Role of Photography within Digital Culture and Artistic Practice
From mid-March till the end of April, Melanie Bühler’s blog series will address a number of ideas about the contemporary role of photography within digital culture and artistic practice. She will also examine the role of digital photography within the context of photography as both an artistic medium and a specialized discipline and explore how networked photographic practices are reflected in the work of contemporary artists.
Online Image Behavior, Where Photographs Live Today
Anne McCauley | 01.02. – 15.03.2015
Politics and Artistic Expression: Paul Strand
Until March 15, Professor Anne McCauley will discuss the difficulty of reconciling politics and artistic expression, with a particular emphasis on the career of Paul Strand.
Beyond Paul Strand: What Can Radical Photography Be?
Ekaterina Degot | 01.11. – 15.12.2014
Photography versus Contemporary Art
Until December 15 the curator, writer and professor Ekaterina Degot will explore some of the paradoxes inherent to the complex relations between photography and so-called contemporary art.
Photography versus Contemporary Art: What’s Next?
Marvin Heiferman | 01.11. – 15.12.2013
In his blog series, Marvin Heiferman will take a broad look at the medium as it is changing and being redefined, and consider the issues in and around the medium that are provocative. Rather than understanding photography as a medium in crisis, as some people seem so eager to suggest, Heiferman sees photography in the midst of being re-imagined – this is will be his starting point to look at and talk about over the course of his blogging period. He will use news reports and stories about topical images, events, and issues in visual culture as the basis for taking a weekly look at how photography and our relationship to it are changing. He will link to stories, write about the issues that they raise, and invite readers to take an active role in the discussion.
How, Where, and When Will We Really Talk About Photography?
Claire Bishop | 15.09. – 31.10.2013
Claire Bishop is blogging about ‚modernist revisitations‘ – or, in her own words: „Sometimes it feels as if every art magazine I open, and every exhibition I visit, features at least one artist whose work earnestly addresses ‘failed utopias’, who is fascinated by ‘Modernist movements and collectives’, who is committed to ‘the re-enactment of historic high Modernist principles’, or who is drawn to ‘forgotten Modernist constructions that have crumbled over time’. Why this incessant retrospectivity? Are these revisitations in any way political, a response to the limitations of postmodern eclecticism? Or should they be viewed more critically, as an avoidance of contemporary politics by escaping into nostalgia celebration of the past? My blog hopes to raise some questions about the ubiquitous genre of modernist utopias in contemporary art.“