Still Searching…

Von 2012 bis 2023 beschäftigte sich der Diskurs-Blog des Fotomuseum Winterthur interdisziplinär mit allen Aspekten der Fotografie und ihrer Rolle in der visuellen Kultur. Die insgesamt fast 50 eingeladenen Blogger_innen von Still Searching…  diskutierten fotografische Medien und Formen als Bestandteil komplexer technologischer, kapitalistischer und ideologischer Netzwerke und verhandelten aktuellste und relevante Fragestellungen rund um die Fotografie.

Index

Blog series: The Fire Last Time: Documentary and Politics in 1970s Britain

Steve Edwards | 07.09. – 05.11.2017
The Fire Last Time: Documentary and Politics in 1970s Britain

In a time of crisis and increasing anti-capitalism, Steve Edwards considers the meeting of the political Left with photography in Britain in the 1970s. Edwards insists the fortunes of documentary and the visibility of social class are entwined. Beginning from a discussion of the critical fortunes of documentary over the last 30 years, he looks at the interest in Brecht and the fall out from the so called neo-Brechtian moment. In the process, he re-evaluates theories and practices of documentary, engaging with a range of documentary work; conceptions of skill and collective production and women and labour.

Undocumented: ‘Intensification, Contraction and Localization’

Donnerstag, 07.09.2017
<p>In the week that President Trump tried to pass off assorted white supremacists and storm troopers as equivalent to anti-fascists, an exhibition of photographs commemorating the ‘Battle of Lewisham’ in 1977 opened in Goldsmith College in the South London borough of Lewisham. In August 1977, massed anti-fascists confronted the far-right National Front. The clash in Lewisham was a decisive moment in halting the rise of the Nazi National Front in the UK.</p>

Brecht’s UK Tour

Dienstag, 19.09.2017
<p>The 1970s conjuncture in Britain that I want to discuss saw photography, and specifically documentary photography, aligned with what Sylvia Harvey termed ‘political modernism’ (strictly speaking, this would be second-wave political modernism). Examples might include works by Jo Spence, the Hackney Flashers Collective, the Women’s Workshop of the Artists’ Union who created the Women and Work exhibition, the Berwick Street Film Collective, Peter Dunn and Lorraine Leeson, Mary Kelly and Victor Burgin’s works between 1975 and 1976. These practices were closely identified with the work of the film-maker Jean-Luc Godard, particularly his collaborative Dziga Vertov Group films, but Bertolt Brecht’s ideas from the second-quarter of the twentieth century were pivotal for many artists, photographers, film-makers and theorists to the extent that collectively this work is often described as ‘neo-Brechtian’.</p>
Blog series: Politics and Artistic Expression: Paul Strand

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.

Rear Windows: Strand’s Backyards

Donnerstag, 26.02.2015
<p>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.</p> <p></p> <p></p>

Beyond Paul Strand: What Can Radical Photography Be?

Dienstag, 10.03.2015
<div>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. <br><br></div>