Tags, ideology
2. Brecht’s UK Tour


Veröffentlicht: 19.09.2017
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1. Undocumented: ‘Intensification, Contraction and Localization’


Veröffentlicht: 07.09.2017
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Veröffentlicht: 23.09.2016
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Veröffentlicht: 15.09.2016
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4. Capitalocene Violence

“Climate change is global-scale violence against places and species, as well as against human beings, writes Rebecca Solnit. “Once we call it by name, we can start having a real conversation about our priorities and values. Because the revolt against brutality begins with a revolt against the language that hides that brutality.”1Rebecca Solnit, “Climate Change Is Violence,” in The Encyclopedia of Trouble and Spaciousness (San Antonio, TX: Trinity University Press, 2014), http://www.truth-out.org/progressivepicks/item/28933-climate-change-is-violence. One way to “call violence by name” is to opt for the Capitalocene—the geological age of capitalism—rather than the misdirected Anthropocene—identifying “human activities” as the agency behind environmental change.2araway credits Andreas Malm and Jason Moore with the earliest usages of “Capitalocene,” in Donna Haraway, “Anthropocene, Capitalocene, Plantationocene, Chthulucene: Making Kin,” Environmental Humanities vol. 6 (2015), 161. The “Chthulucene,” for her, designates the post-anthropocentric and post-anthropos age of multispecies assemblages—named not so much after sci-fi writer H.P. Lovecraft’s monster Cthulhu, but rather the “diverse earth-wide tentacular powers and forces and collected things with names like Naga, Gaia, Tangaroa...” suggesting “myriad temporalities and spatialities and myriad intra-active entities-in-assemblages, including the more-than-human, other-than-human, inhuman, and human-as-humus”—the basis for Haraway’s additional rejection of the Anthropocene. No doubt any single term is ultimately inadequate. The terminological distinction invites a critical analysis of Anthropocene imagery, especially in regards to popular photography. mehr

Veröffentlicht: 05.06.2015
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1. Welcome to the Anthropocene!



Veröffentlicht: 05.05.2015
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5. Beyond Paul Strand: What Can Radical Photography Be?

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. The other problem is, of course, what we intend by the terms, “political subjects” or “political art.” The gathering together of any people into a governing unit begins to constitute the body politic, so that virtually all social life in some sense can be read as “political.” However, historically we distinguish “political art”—art that is intentionally made to express a political party line or promote a particular government or policy position—from art that can be read as confirming a location within conflicting ideologies (which may cut across formal party platforms or regimes).  This latter sense of art as functioning politically and representing certain values that can be decoded has driven much of the social history of art in the past fifty years and is what I was striving to uncover in Strand’s enigmatic urban views. mehr

Veröffentlicht: 10.03.2015
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4. Heart of Darkness


Veröffentlicht: 29.06.2014
10 Kommentare
3. Excursus: Politics of the Victim



Veröffentlicht: 19.06.2014
6 Kommentare
2. Paul Strand after Margaret Mead



Veröffentlicht: 10.06.2014
10 Kommentare

Hello world!



Veröffentlicht: 01.06.2014
11 Kommentare
3. A Tale of Two Mapplethorpes




Veröffentlicht: 30.04.2014
5 Kommentare
2. Boundary Problems: Addressing History in the Image




Veröffentlicht: 22.04.2014
4 Kommentare


Veröffentlicht: 14.04.2012
6 Kommentare