Camera Austria International

View cart “40 | 1992” has been added to your cart.

40 | 1992

Symposion on Photography XII, Part I
The Public Image

Price

25Add to cart

  • LÁSZLÓ BEKE
    The Public Sphere and Hungarian Photography
  • VINCE LEO
    Written in the Wind
  • MARK LEWIS
    Public Art
  • MITRA TABRIZIAN
    The Black As Such
  • ANNIE SPRINKLE
    The Transformation Salon
  • S.D. SAUERBIER
    Heinz Gappmayr's Thinkable Photography

Editorial

With “The Public Image” as its theme, the SYMPOSIUM ON PHOTOGRAPHY XII was aimed at investigating the role of the medium of photography as a principal creator of publicity. As long as photography’s depictive status remains unshaken, a photograph’s credibility rests solely on the “presence of world”; it suggested objectivity and identity. The debate was to deal not only with the fact that images of a private, hermetic world could be brought out into the light of the public of the first time through photography, but also with a changing view on reality under the influence of existing public images. This issue of CAMERA AUSTRIA include the first part of the text and image contributions to the event. The positions presented here offer insights into various historical contexts and show a diversity of theoretical approaches and practical realizations.

Full text

Camera Austria International 40 | 1992
Editorial

With “The Public Image” as its theme, the SYMPOSIUM ON PHOTOGRAPHY XII was aimed at investigating the role of the medium of photography as a principal creator of publicity. As long as photography’s depictive status remains unshaken, a photograph’s credibility rests solely on the “presence of world”; it suggested objectivity and identity. The debate was to deal not only with the fact that images of a private, hermetic world could be brought out into the light of the public of the first time through photography, but also with a changing view on reality under the influence of existing public images. This issue of CAMERA AUSTRIA include the first part of the text and image contributions to the event. The positions presented here offer insights into various historical contexts and show a diversity of theoretical approaches and practical realizations.

Using the material he had to assess as a jury member in a Hungarian photo reportage competition, László Beke takes a look at changes in the representation of reality and in the choice of topics since the political conditions in Hungary have allowed freedom of press so that images could be published that had hitherto been regarded as subversive. The skeptics in his confusions coincides with that of Mark Lewis whose focus is on the role of monuments (and of iconoclasm) in totalitarian and democratic societies. Vince Leo’s intervestigations are based on individual photographs from public and private source. The questions he addresses at these pictures and at their use are a plea to take a second look at their reality status as “images”, for only as such they can teak effect on our dealing with factual reality.

Mitra Tabrizian takes Jacques Lacan’s and Homi Bhabha’s theories as her point of departure for an introduction to her work “The Blues”. Her demand for non-indentity – she discusses the role of women and blacks are examples of otherness creating identity (of men and whites respectively) – is echoed in Annie Sprinkle’s “Transformation Salon”. Sprinkle’s position as a porno star and a voyeur photographer, her exhibitionistic self-representation and her feminist attitude allow her to rephrase questions about voyeurism and pornophotography, concepts closely connected to publicity and the media. Hers is also the cover photo of CAMERA AUSTRIA No. 40: While presenting the perfect stripper’s outfit, the ironically detached commentary and the fact that it is a self-portrait refract the moralizing object role. the scope of the debate will be extended and he publication of the 12th Symposium completed in the next issue of CAMERA AUSTRIA by contributions from Rudolf Bonvie, Antonin Dufek, Werner Fenz, David Robbins and Selly Stein.

We thank the “styrian autumn” management, as well as the Federal Ministry for Art Affairs, the Federal Country of Styrian and the City Council of Graz for their financial and moral support safeguarding the continuity of the Forum Stadtpark Symposium on Photography. The growing number of readers of CAMERA ASUTRA helps us to continue this work.

Christine Frisinghelli

Contributions

Forum

MICHAEL MICHLMAYR

HANS WETZELSDORFER

IAN GREEN

BARBARA FORSHAY

JEANETTE ABEE

DIANE BUSH

GEORGIA MCINNIS

Exhibitions

SPORT-BILD-GESCHICHTEN
JUTTA STEININGER

ISARPROJEKT 1991
PIA LANZINGER

DIE ÜBERSCHREITUNG DES BILDES
REINHARD BRAUN

DIE HERRSCHAFT DES SUBJEKTS
REINHARD BRAUN

ART FRANKFURT
FRANZ NIEGELHELL

SCHWARZE FELDER
MONIKA FABER

JENSEITS DES “REALISMUS” / Ostdeutsche Fotografie 1945 – 1989 in der Berlinischen Galerie
THILO KOENIG

IN ÜBEREINSTIMMUNG DES DENKENS UND DER VORSTELLUNG MIT DEM GEGENSTAND / Zur Ausstellung: Edward Hopper und die Photographie
MARLENE SCHNELLE-SCHNEYDER

Books

THE CONTEST OF THE MEANING / THE CRITICAL IMAGE
ANNEMARIE HÜRLIMANN

BILDERBERG. 20 FOTOGRAFEN UND IHRE REPORTAGEN
JUTTA STEININGER

KILIAN BREIER. FOTOGRAFIK 1953 – 1990
JUTTA STEININGER

INTERPRETATIONEN
KERSTIN BRAUN

BESTANDSAUFNAHME
KERSTIN BRAUN

ALLES ODER NICHTS
KERSTIN BRAUN

GEGENDARSTELLUNG
KERSTIN BRAUN

IL LIMITE
KERSTIN BRAUN

FOTOGRAFIE IN DER SCHWEIZ
KERSTIN BRAUN

REAKTIONEN
KERSTIN BRAUN

MY FELLOW AMERICANS
FRANZ NIEGELHELL

PHOTO VIDEO
FRANZ NIEGELHELL

DIGITAL DIALOGUES
FRANZ NIEGELHELL

Imprint

Publisher: Manfred Willmann.
Verein CAMERA AUSTRIA, Labor für Fotografie und Theorie
FORUM STADTPARK, Stadtpark 1, A-8010 Graz

Editor: Christine Frisinghelli
Editing Team: Reinhard Braun, Friederike Lenart, Jutta Mayer

Translation: Klaus Feichtenberger, Bärbel Fink, Wilfried Prantner