
Mandy Martin, Puritjarra 2, 2005. For further information on MANDY MARTIN, refer here: http://www.mandy-martin.com/
If there are diverse kinds of knowledge and ways of knowing place, then we need to learn to value the different ways each of us sees a single place that is significant, but differently so, for each perspective.
|
|
looking for something firm in a world of chaotic flux
|
|
|
photography's identity crisis?
« Previous |
|Next »
|
|
|
June 20, 2009
In the Introduction to Photography Crisis of History the editor Joan Fontcuberta writes that photography arrived at the year 2000 beset by an apparent crisis of identity:
The vertiginous technological changes all around us, together with the political and economic context that underpins these, have transformed the genesis and the nature of the photographic image to such an extent as to legitimate every uncertainty as to its current status....The whole ethical and aesthetic basis has been subverted.The landscape is decidedly unrecognizable, so unrecognizable that some, the most radical are now speaking of the death of photography, whole others, more moderate, introduce a new and necessary ambiguous category: that of post-photography.
The reference is to the metamorphosis of photography based on the grain of silver to the pixel, which Fontcuberta argues is a screen that conceals the evolution taking place in the whole framework that provided photography with a cultural, instrumental and historical context.
Gary Sauer-Thompson, Morton Bay tree trunk, Adelaide parklands, 2009
I have to admit being initially puzzled by this kind of commentary since I found that the shift to digital makes it easier and cheaper to do photography. Digital technology is liberating in that it opens up spaces that enable a public presence to work that was never there in a pre-digital world --eg., photoblogs, e-books and magazines, digital exhibitions etc.
However, Fontcuberta is referring to the whole framework that provided photography with its cultural, instrumental and historical context. This is described thus:
In photography two facets have necessarily coexisted, perfectly fused and inseparable: on the one hand, the image as visual information; on the other, the physical support or medium, its objective dimension ..... all through the course of history certain social uses or certain focuses have privileged one component or the other; in the realm of the archive, for example, the information aspect prevails, while in that of the museum, in contrast, it is the objective aspect. What digital technology does is to accentuate the divide between image and support,between information and object. To say it in other words, digital technology has effectively dematerialized photography, situating it in new configuration that will prohibit its access to certain past territories and promote the exploration others.
Fontcuberta says that issues of meaning now take precedence over issues of representation. In the realm of artistic expression digital photography should be unfavourable to certain developments of a formalist nature while accentuating others of a narrative and conceptual nature.
|
|
|
| | Posted by Gary Sauer-Thompson at 6:54 PM | Permalink |
|
|
|
|
|
|
|