Still Searching…

The conditions governing the digital world have led to a radical diversification not only in photography but also in the theory that underpins it and the history that is written about it. Photographic media and forms are incorporated into complex tech technological, capitalist and ideological networks; the experts who are conducting scholarly research into the role of photographic images thus come from very different disciplines. The expansion of the discourse surrounding these images is also reflected in Still Searching…, the blog on photographic theory that was initiated by Fotomuseum Winterthur in 2012 and which subjects all aspects of photography and its role in visual culture to interdisciplinary scrutiny. The bloggers invited to the online format operate at the forefront of research and enhance our awareness of current issues that are relevant to photography.

Index

Blog series: Past, Present and Future of the Photo Book

Markus Hartmann | 15.09. – 31.10.2014
Past, Present and Future of the Photo Book

Until October 31 Markus Hartmann, the former publishing director of Hatje Cantz will be thinking about the past, present and future of the photo book:

“Making and selling books was (and still is) a commercial venture, similar to the gallery business. I mention this because a lot of people from the inner circles of the art world do not have the same understanding and see their work or other works and exhibitions from a more idealistic point of view. I was accustomed to thinking about money and budgets when publishing books, and seldom had the opportunity to make books without such constraints. This is one reason why my contributions to this blog will focus more on the business side of making photo books than contributions from historians, researchers, curators, etc.”

Honoring Two Great Photo Book Publishers: Gigi Giannuzzi and Walter Keller

Tuesday, 30.09.2014
<div>Welcome back – now from Jaca, Spain!</div><div><br></div><div>Those who follow this blog may be aware that I am on a road trip through France, Spain, and Portugal. The trip started in Stuttgart and the last location I wrote about was Arles. More about the trip at the end of this entry. And again, to those who follow this blog: Feel free to contact me – I am always happy about advice on where to go, what to see, and who to meet!<br><br></div>

Distribution and Money, the Frankfurt Book Fair and the PhotoBookMuseum, Cologne

Friday, 10.10.2014
<div>This may be a slightly boring entry, but I thought it would be worthwhile to explain why, in most cases, artists or photographers must supply the publisher with money to produce their book.<br><br></div>

A Portuguese Interception

Tuesday, 21.10.2014
<p>Our journey has brought us from the end of the Roman world (Cape Finisterre) over Santiago de Compostela to Portugal. In Santiago we saw an impressive and interesting group exhibition called <a href="http://programacion.xacobeo.es/en/events/exhibition-road-santiago" target="_blank" rel="noopener"><em>On the Road</em></a> in the restored Bishop’s Palace (Palaco de Xelmirez and Iglesia de Bonaval) next to the cathedral. An ambitious project of the Galician Tourist Board and local administration and yet another example of how contemporary art and photography can be shown in very old buildings (Romanesque architecture of the 12th century).</p> <p><img class="alignnone size-medium wp-image-2120" src="http://fotomuseum.imgix.net/29119/image/29119_image_0000.jpg?max-w=1200" alt="OntheRoad_santiago (29119)" /></p> <p></p>
Blog series: Centrist Liberalism Triumphant: Postwar Humanist Reframing of Documentary

Jorge Ribalta | 01.06. – 15.07.2014
Centrist Liberalism Triumphant: Postwar Humanist Reframing of Documentary

Jorge Ribalta’s blog series draws inspiration from the title of the fourth volume of Immanuel Wallerstein’s landmark series on the modern world-system. Rather than a theoretical or philosophical discussion on the nature of documentary photography, the blog series proposes a historical understanding of documentary practices in photography, and specifically during the Cold War. Ribalta’s point is that the rise of documentary rhetoric and discourses in the prewar era reflected the need to provide a visual tool for the representation of the working class and its new agency in mass democracy. But histories of photographic modernism, mostly a postwar construction largely determined by Newhall’s contribution, offered specific “liberal” versions of the emergence of the documentary discourse that had long-lasting effects. For example, the hegemony of the FSA documentary overshadowed the rest of the 1930s documentary experiences, particularly that of the Worker Photography Movement. In the 1950s, the large shadow of the monumental The Family of Man invisibilized or re-signified other documentary experiments, like Italian Neorealism or Paul Strand’s photo book projects, just to mention two examples. In both cases, prewar and postwar, centrist liberalism is triumphant. In other words, liberal humanism seemed to be an unsurpassable discursive and ideological horizon in postwar photographic avant-gardes and its historical narratives. The blog series brings to discussion some ideas and intuitions dealing with the humanist condition of postwar documentary photography and its problems.

Excursus: Politics of the Victim

Thursday, 19.06.2014
<div>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.<br><br><br></div>