The first transnational history of photography’s accommodation in the art museum Photography was long regarded as a “middle-brow” art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book—part institutional history, part account of shifting photographic theories and practices—Alexandra Moschovi tells the story of photography’s accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography’s status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site.
The first transnational history of photography’s accommodation in the art museum Photography was long regarded as a “middle-brow” art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book—part institutional history, part account of shifting photographic theories and practices—Alexandra Moschovi tells the story of photography’s accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography’s status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site.
Here We Are is an anthology of Panos Kokkinias' widely exhibited fine-art photography, from 1994 through 2007. The monograph consists of four sections, each representing different bodies of work linked by a common theme: Kokkinias' personal, ongoing obsession with existential subject matter. · Home (1994-1995), was produced during a difficult personal period for Kokkinias, marked by an eating disorder. To help overcome his troubles, Kokkinias turned the camera onto himself. Gradually his physical presence in the pictures gave way to surrogates for his psychological state. · Interiors (1995-1996), contains depictions of uncommon and unfamiliar interior spaces with the apparition of haunting human figures. Seen from a distance, the subjects are trapped, wandering, and lost, without an apparent escape. · In Landscapes (1996-2001), beneath an omnipresent lens, distant figures roam the countryside with urban neuroses in tow, underscoring their remove from nature and the world around them. · Here We Are (2001-2007), the closing section of the book, examines photography's capacity to consider the existential condition.
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