Abstract
Some have talked about a crisis in documentary photography since its inter- and post-war heydays. But more recently a new kind of art-documentary has developed with a self-reflexive approach towards the limits and the possibilities of photography. The spectrum between documentary and art provides photography with a specific opportunity to address difficult subject matter between the personal and the political. Leaving the discussion of “the politics of representation” — so dominant in the 1980s — aside and instead departing from a handful of newer theoretical framings which try to formulate an ethically responsive, activist and transitive form of photographic agency (such as Roberts, Thrift, Butler and Azoulay), this article identifies and discusses a current in contemporary photography of new conceptual strategies of socially and politically engaged documentary. This strategy is called “new mixtures” because it mixes hitherto separated photographic forms such as family and cell phone photos, reportage and conceptual and archival forms. It is identified as a global tendency, but more closely exemplified by the work of Scandinavian photographers Kent Klich and Tina Enghoff. As such the article identifies what is called both a “social” as well as a more “positive” take on both theory and photography, which has taken place in the decade that photographies has existed.
| Original language | English |
|---|---|
| Journal | Photographies |
| Volume | 11 |
| Issue number | 2-3 |
| Pages (from-to) | 267-287 |
| Number of pages | 21 |
| ISSN | 1754-0763 |
| DOIs | |
| Publication status | Published - 2 Sept 2018 |
Keywords
- Faculty of Humanities