Understanding Post-Photography | Exploiting the Iconosphere

In the realm of visual culture, the transition from traditional photography to what is now known as “post-photography” marks a pivotal shift in how we perceive, interact with, and understand images. Traditionally, photography has been celebrated as a medium of truth, memory, and documentation—a window to the world, capturing moments of reality as they unfold. However, the advent of digital technology and the Internet has ushered in a new era, one where the boundaries of photography extend beyond the mere act of capturing to encompass a broader, more complex interaction with images. This evolution has given rise to the term “post-photography,” a concept that challenges our conventional understanding of photography and invites us to explore the profound changes in the visual landscape.

The roots of post-photography can be traced back to the pioneering thoughts of Joan Fontcuberta and David Tomas, among others, who have delved into the implications of this shift. Their work explores not only the technological advancements that have transformed how images are created, shared, and perceived but also the cultural and philosophical underpinnings of these changes. In the bustling metropolis that never sleeps, a city renowned for its art, culture, and innovation—though it shall remain unnamed—these discussions resonate with particular vibrancy, reflecting the broader global conversation on the future of imagery.

Joan Fontcuberta, in his seminal work on the condition of post-photography, sheds light on the “iconosphere”—a term he coins to describe the all-encompassing universe of images that we produce and inhabit, akin to living within an atmosphere of icons. This concept becomes particularly relevant in today’s digital age, where images saturate every corner of our existence, from the personal to the public sphere. Fontcuberta’s reflections during significant exhibitions, such as the “Mois de la photo à Montréal, 2015” highlight the critical juncture at which photography finds itself, navigating between its historical role and its evolving post-photographic condition.

David Tomas further enriches the discourse with his early use of “post-photography” to describe the transition towards a post-optical ecology of the eye, suggesting a fundamental shift in how we engage with visual information. This shift moves beyond the technical to touch upon the very ecology of vision and perception in the digital age.

As we delve into the world of post-photography, we embark on a journey that explores not only the metamorphosis of a medium but also the transformation of our visual culture and societal norms. This article aims to unravel the layers of post-photography, tracing its roots, examining its manifestations, and pondering its implications for the future. Through the lens of post-photography, we are invited to re-evaluate our relationship with images, challenging us to see beyond the frame and into the fabric of contemporary visual culture.

The Pioneers of Post-Photography

Joan Fontcuberta: The Iconosphere and Beyond

Joan Fontcuberta, a visionary in the field of visual arts, has significantly contributed to expanding the boundaries of photography into what we now understand as post-photography. His critical examination of the digital image deluge posits a world where we no longer just consume images but live within them—an iconosphere. Fontcuberta’s work and writings, particularly his influential article “La condition post-photographique,” provide a profound insight into the shift from traditional photographic practices to a new, post-photographic condition. This transition is marked not just by the ubiquity of images but by a fundamental change in how we interact with these visual entities. Fontcuberta’s articulation of the iconosphere captures the essence of this era—an atmosphere saturated with images, where photography has transcended its conventional boundaries to become an omnipresent force in our daily lives.

In 2015, during the “Mois de la photo à Montréal,” Fontcuberta’s curatorial work brought these ideas into a tangible form, presenting a collection that crystallized the state of post-photography at that moment. This exhibition was not merely a display of contemporary photography but a critical examination of the medium’s evolving nature in the face of technological advancements and societal changes. By juxtaposing the traditional with the avant-garde, Fontcuberta invited viewers to explore the depth and breadth of the iconosphere, urging them to consider the implications of living in a world where images are as ubiquitous as the air we breathe.

David Tomas: From Photography to Post-Photography

David Tomas’s exploration of post-photography dates back to his seminal work in 1988, where he first ventured into the concept of a post-photographic practice. His article, “From Photograph to Postphotographic Practice: Toward a Postoptical Ecology of the Eye,” published in SubStance, served as an early foray into understanding the implications of the digital revolution on the field of photography. Tomas envisioned a future where the act of seeing and the nature of imagery would be fundamentally altered by technological advancements, proposing a shift towards a post-optical ecology. This notion suggested that the essence of photography would evolve beyond the optical and chemical processes that had defined it for over a century, embracing digital technologies that redefine the creation, distribution, and consumption of images.

Tomas’s insights into the post-photographic were not limited to technological shifts but encompassed a broader reflection on the changing relationship between humans and images. He foresaw a world where images would not just be looked at but interacted with in complex, multifaceted ways. The post-photographic, as envisioned by Tomas, implicates a more dynamic engagement with visual culture, where the boundaries between creator and viewer, original and copy, and reality and representation become increasingly blurred.

The contributions of Joan Fontcuberta and David Tomas to the discourse on post-photography are monumental. They have laid the groundwork for understanding the profound shifts in visual culture precipitated by the advent of digital technology. Their work challenges us to reconsider our relationship with images, urging us to see beyond the traditional paradigms of photography and to embrace the complexities and possibilities of the post-photographic era. Through their pioneering efforts, Fontcuberta and Tomas have opened up new avenues for artistic exploration, critical thought, and cultural engagement, marking them as true visionaries in the evolution of photographic practice.

Key Concepts in Post-Photography

The Digital Image Deluge

In the digital era, we are witnessing an unprecedented proliferation of images, leading to what Joan Fontcuberta describes as an “iconosphere” – an environment so saturated with images that they form a pervasive, omnipresent background to our daily lives. This deluge of digital imagery has fundamentally transformed our interaction with visual content, moving us from passive receivers to active participants in the creation, distribution, and manipulation of images. The digital image deluge signifies a departure from photography’s traditional role as a medium of memory and documentation to a dynamic form of communication, where images are used for connectivity, expression, and instantaneous sharing.

The transition into post-photography is characterized by the shift from valuing the photographic image for its veracity and connection to the “decisive moment” to an appreciation of images for their fluidity, multiplicity, and role in social interaction. In this context, the image becomes less a static document of reality and more a dynamic, interactive element of digital culture. This shift raises questions about the nature of truth, memory, and authenticity in the digital age, as the ease of image manipulation and the volume of visual content challenge traditional notions of photographic credibility.

The Manifesto-Decalogue of Post-Photography

The post-photographic era is marked not only by changes in how images are produced and consumed but also by a transformation in the role of the artist and the function of images in society. Joan Fontcuberta’s manifesto-decalogue for post-photography outlines key principles that define this new landscape:

1. Redefining the Role of the Artist: In post-photography, the artist’s role shifts from producing works of art to prescribing meaning, navigating through the vast sea of images to select, curate, and recontextualize them in a way that generates new interpretations and dialogues.
2. Multiplicity of Roles: The post-photographic artist embodies multiple roles—curator, collector, educator, historian, and theoretician—reflecting the multifaceted nature of image creation and dissemination in the digital age.
3. Ecology of the Visual: An emphasis on visual ecology advocates for a responsible approach to image production and consumption, highlighting the need for sustainability in the face of visual saturation.
4. Primacy of Image Circulation: The value of an image in post-photography lies not in its content alone but in its circulation, its ability to move through social networks, and its capacity to engage audiences.
5. Questioning Originality: The digital era challenges traditional notions of originality, embracing appropriation and remixing as legitimate forms of artistic expression.
6. Redefining Authorship: Authorship becomes elusive in post-photography, with images often existing in a state of shared or ambiguous ownership, reflecting the collaborative and interconnected nature of digital culture.
7. Public vs. Private: The distinction between public and private spheres is increasingly blurred, as personal images shared online become part of the collective visual culture.
8. Art’s Playful Horizon: Post-photography favors a playful, experimental approach to image-making, valuing creativity and innovation over solemnity.
9. Valuing Sharing over Possessing: The emphasis shifts from owning images to sharing them, reflecting the communal and distributed nature of digital media.
10. Consciousness-Raising: Post-photography engages with political and social issues, using the power of images to challenge assumptions and provoke thought.

The principles outlined in the manifesto-decalogue reflect a comprehensive reevaluation of the photographic medium’s place within contemporary culture. They highlight the transition from a focus on the image as a document to the image as an active participant in a continuous flow of communication and interaction. This shift towards post-photographic practices represents a broader cultural and technological evolution, where images are no longer just representations of reality but are integral to the fabric of our digital lives.

The Paradigm Shift: From Appropriation to Adoption

The evolution into post-photography is characterized by a significant paradigm shift in the way we interact with images, moving from a practice of appropriation to one of adoption. This transformation reflects deeper changes in our cultural, technological, and artistic landscapes, where the boundaries of image creation, ownership, and meaning are increasingly fluid.

From Appropriation to Adoption

Historically, the concept of appropriation in art involves the use or re-use of pre-existing objects or images with little transformation to create new work. It’s a practice deeply rooted in the 20th-century art movements, challenging notions of originality and authorship. However, in the realm of post-photography, the act of appropriation takes on a new dimension, evolving into what can be more accurately described as adoption.

Adoption, in this context, goes beyond merely taking or borrowing images. It encompasses a more nuanced engagement with the visual material, where artists, and even everyday users of digital media, don’t just reuse images but integrate them into new contexts, imbuing them with fresh meanings, narratives, or functions. This process of adoption reflects a deeper, more personal or communal connection with the images, recognizing them as part of our shared digital ecosystem.

The Case of the Viral Monkey Selfie

One of the most emblematic examples of this shift is the story of the viral monkey selfie, which brings to light the complexities of image ownership, authorship, and the human relationship with images in the digital age. The incident involved a macaque monkey in Indonesia that accidentally took a selfie with a camera belonging to photographer David Slater. The photograph gained worldwide attention, leading to legal battles over copyright claims, which ultimately raised profound questions about the nature of authorship and the rights to an image.

The U.S. courts ruling in favor of Wikipedia, which argued that the image could not be copyrighted because it was taken by a non-human animal, underscores the challenges posed by post-photography to traditional legal and ethical frameworks. This case exemplifies the transition from appropriation to adoption, where the focus shifts from who “owns” an image to how it becomes part of a broader narrative and cultural dialogue. The monkey selfie, through its journey from a random accident to a viral phenomenon, demonstrates how images in the post-photographic era are adopted and adapted by various actors across the digital landscape, each adding layers of meaning and context.

The New Visual Order and Adoption

The shift towards adoption signals a new visual order in post-photography, characterized by an emphasis on the relational aspects of images—their ability to connect, communicate, and create communities. This new order values the participatory nature of image-making and sharing in the digital age, where the lines between creator and consumer, art and documentation, personal and public, become increasingly blurred.

In this context, images are not just objects to be appropriated but entities to be adopted, engaged with, and integrated into our lives. This approach recognizes the dynamic, interactive nature of images as they move through social networks, digital galleries, and personal collections, accumulating new meanings and roles.

The paradigm shift from appropriation to adoption in post-photography reflects a broader transformation in our relationship with images. It highlights how digital technology and social media have democratized image creation and dissemination, leading to a more inclusive, participatory visual culture. This shift challenges us to rethink concepts of authorship, ownership, and the role of images in society, paving the way for a more fluid, interconnected visual ecosystem that embraces the complexities and possibilities of the digital age.

Post-Photography in Practice: Notable Exhibitions and Works

The evolution of post-photography from a theoretical concept into a tangible art form is vividly illustrated through various groundbreaking exhibitions and works by pioneering artists. These platforms and individuals have not only embraced the digital revolution but have also critically engaged with its implications, offering profound insights into the changing landscape of visual culture.

Highlighting Three Key Exhibitions

Tous Photographes, 2007

The exhibition “Tous Photographes” (All Photographers) in 2007 served as an early acknowledgment of the democratization of photography in the digital age. This show underscored the idea that the advent of digital cameras and smartphones has empowered everyone to become photographers, blurring the lines between professional and amateur. The exhibition explored how this shift impacts the aesthetics of photography, the dissemination of images, and the role of the photographer. By showcasing works that ranged from the deliberately artistic to the spontaneously captured, “Tous Photographes” highlighted the diversity and richness of photographic practice in the digital era, emphasizing the medium’s expanding boundaries.

From Here On, 2011

“From Here On” held at the Rencontres d’Arles in 2011, marked a significant moment in the recognition of post-photography as a distinct practice. Curated by a group of artists and thinkers, including Joan Fontcuberta, the exhibition presented works that were created using the vast array of images available on the internet. The artists appropriated, manipulated, and recontextualized these found images to produce new works that reflect on themes of authorship, originality, and the flood of digital imagery. “From Here On” was a manifesto in itself, declaring the arrival of a new era in which the camera is no longer the primary tool for making photography. Instead, the exhibition showcased how artists could harness the power of the internet and digital technologies to redefine the photographic image.

Mois de la Photo à Montréal, 2015

The “Mois de la Photo à Montréal” in 2015 took a comprehensive look at the post-photographic condition, curating works that examine the impact of digital culture on visual representation. Under the theme proposed by Joan Fontcuberta, the exhibition delved into how digital technologies have transformed our understanding of the image, from its creation and distribution to its consumption and interpretation. The selected works interrogated the authenticity of digital images, the role of algorithms in shaping visual culture, and the shifting boundaries between the real and the virtual. This event stood out for its critical engagement with the philosophical and cultural questions raised by the post-photographic era, offering a multifaceted exploration of the complexities of contemporary visuality.

Artist Spotlight: Adoption and the New Visual Order

The move from appropriation to adoption in the realm of post-photography is exemplified in the works of artists who engage deeply with the digital image landscape. These artists navigate the iconosphere not merely by reusing existing images but by integrating them into a broader narrative or conceptual framework, thus adopting these images to serve new purposes.

• Erik Kessels: In his project “24 HRS in Photos” Kessels confronts the viewer with the overwhelming volume of images produced in a single day. By printing and displaying all the photos uploaded to Flickr within 24 hours, Kessels materializes the digital image deluge, prompting reflections on the value, originality, and transience of digital photographs.
• Mishka Henner: Henner’s work often involves the strategic use of Google Earth and other satellite imagery to comment on geopolitics, surveillance, and the environment. His series, such as “Dutch Landscapes” where he highlights sites censored by the Dutch government on Google Maps, explores the tension between visibility and concealment, questioning the neutrality of satellite images.
• Amalia Ulman: Ulman’s “Excellences & Perfections” Instagram project blurs the line between reality and performance. By adopting the persona of an aspiring Instagram influencer, Ulman crafts a narrative that unfolds through staged photos and posts, critiquing the construction of female identity and authenticity in the age of social media.

These exhibitions and works underscore the dynamic and evolving nature of post-photography, as artists and curators grapple with the implications of a world inundated with images. Through their creative and critical engagements, they map out the contours of a new visual order, one that reflects the complexities and contradictions of the digital age.

The Ongoing Debate: Photography vs. Post-Photography

The advent of digital technology has not only expanded the technical capabilities of photography but has also introduced a profound conceptual shift, giving rise to what is now termed post-photography. This evolution sparks a vibrant debate among artists, theorists, and critics, centering on the relationship between traditional photographic practices and the emergent post-photographic paradigm. The crux of this debate lies in the distinctions and continuities between the two, raising questions about the nature of photography in the digital age, the role of the image, and the implications for artistic practice and cultural consumption.

Challenging the Boundaries

One of the core issues in the debate is the challenge to the boundaries that have traditionally defined photography. In the pre-digital era, photography was largely understood as the art of capturing light on a photosensitive surface, a process bound by the physicality of film and the mechanics of the camera. This definition is disrupted by digital technologies that replace chemical processes with electronic ones, enabling not just the capture of images but their extensive manipulation and distribution through digital networks. The post-photographic condition is characterized by an abundance of images, a democratization of image-making tools, and a fluidity of image manipulation and sharing, all of which challenge traditional notions of authorship, authenticity, and originality.

Moments Exceptional vs. Moments Banal

Traditional photography often celebrated the “decisive moment” a concept popularized by Henri Cartier-Bresson, where the photographer’s skill in capturing a fleeting, significant instant was paramount. Post-photography, by contrast, tends toward the capture of the everyday, the mundane, and the overlooked. The emphasis shifts from the exceptional to the banal, reflecting a broader cultural turn towards the documentation of self and the ordinary as worthy subjects of photographic inquiry. This shift is facilitated by the ubiquity of camera-equipped smartphones, allowing for a constant, almost unconscious stream of image production that documents every aspect of daily life.

Stability vs. Contamination/Instantaneity

The transition to digital has also transformed the stability once associated with photographic images. In the analog world, photographs were tangible objects that could fade or deteriorate over time but generally remained unchanged from the moment of their development. Digital images, however, exist in a state of potential perpetual flux, easily altered with a few clicks. This “contamination” of images speaks to their instantaneity and mutability, where the original can spawn countless variations, each as “authentic” as the last. This challenges the traditional role of photography as a reliable document of reality, suggesting instead a post-photographic landscape where images are part of an ongoing conversation rather than fixed statements.

Document vs. Autobiographical Inscription

Where photography was once predominantly seen as a documentary tool—a means of recording the external world—post-photography often turns the lens inward, using images as autobiographical inscriptions. Social media platforms have accelerated this trend, with users curating their lives through images that serve more to communicate personal narratives and construct identities than to document objective realities. This shift towards a more introspective, communicative use of images marks a significant departure from photography’s historical emphasis on external subjects, highlighting the role of images in the performative aspects of identity in the digital age.

Description vs. Narrative and Conversational Gestures

The evolution into post-photography entails a move from description to narrative, where images are not merely about depicting the world but about telling stories and engaging in conversations. The digital image becomes a starting point for dialogue, a piece in a larger mosaic of visual communication that spans global digital networks. This narrative potential of images—enhanced by their digital nature—underscores the shift from photography as a medium of representation to post-photography as a medium of connection and interaction.

The ongoing debate between photography and post-photography is not a binary opposition but a spectrum of practices that reflect the complex ways in which we engage with images today. It highlights the dynamic interplay between tradition and innovation, inviting a reevaluation of what photography means in the 21st century and how it shapes our understanding of the world and ourselves. As we navigate this debate, we are reminded of the power of images to not only capture moments but to create meaning, challenge perceptions, and connect us in an ever-changing digital landscape.

The New Visual Ecology

Within the ongoing debate between photography and post-photography, a significant area of discussion is the emergence of what might be termed the “new visual ecology.” This concept refers to the radically transformed environment in which images are produced, distributed, and consumed, an environment shaped by digital technologies, social media platforms, and the internet. The new visual ecology is characterized by its fluidity, its democratization of image-making, and its capacity to foster a global conversation through visuals. This evolution challenges traditional understandings of photographic practice and invites us to consider the broader implications of these changes for society, culture, and individual perception.

Democratization of Image-Making

The accessibility of digital cameras, smartphones, and editing software has democratized the process of creating images, enabling anyone with a device to capture, edit, and share photographs. This democratization extends beyond the technical ability to produce images; it encompasses the ability to disseminate photographs widely through social media and other digital platforms, thus participating in a global visual dialogue. This shift challenges the historical division between professional photographers and amateurs, suggesting a new paradigm in which the value of an image is not necessarily tied to its technical perfection but to its communicative power and emotional resonance.

Accelerated Circulation and Consumption

The digital age has exponentially accelerated the circulation and consumption of images. Social media platforms function as vast, interconnected networks through which photographs can travel the globe in seconds, reaching diverse audiences and generating immediate responses. This instantaneity influences not only how images are viewed and understood but also how they are created, with photographers—both amateur and professional—increasingly mindful of the potential for their work to be shared and seen by a global audience. This aspect of the new visual ecology underscores the shift from images as static objects to be contemplated to dynamic entities that participate in an ongoing cultural exchange.

Impact on Perception and Attention

The sheer volume of images produced and consumed in the new visual ecology has profound implications for perception and attention. The constant flow of visuals can lead to a saturation effect, where the abundance of images might dilute their individual impact, challenging viewers to find meaning and significance in a seemingly endless stream of visual content. This condition raises questions about the sustainability of our visual culture: How do we navigate this flood of images? How do we discern the meaningful from the mundane? And how does this exposure shape our understanding of the world and our place within it?

Reconfiguration of Public and Private Spaces

The new visual ecology also blurs the boundaries between public and private spaces. Images that might once have been considered personal or intimate can now be shared with a wide audience, redefining notions of privacy, consent, and community. Conversely, public events and spaces are increasingly documented through the collective lens of those present, captured from myriad perspectives and shared across digital platforms. This reconfiguration of the public and private reflects a broader shift in how we conceive of personal identity and community in the digital age, with images playing a central role in mediating these concepts.

Conclusion: Embracing the Post-Photographic Condition

As we navigate through the intricate landscape of the digital era, the concept of post-photography emerges not merely as a theoretical discourse but as a lived reality that permeates every facet of our visual culture. This evolution from traditional photography to post-photography reflects a broader transformation in how we create, share, and perceive images. It marks a shift from viewing photographs as representations of reality to understanding them as dynamic entities that shape and are shaped by the cultural, social, and technological contexts in which they exist. Embracing the post-photographic condition, therefore, entails recognizing and engaging with the complexities and opportunities that this new visual ecology presents.

Reflecting on the Transformation of Visual Culture

The post-photographic condition compels us to reflect on the profound changes in visual culture brought about by digital technologies. Images today are not just captured but constructed, not just viewed but interacted with, creating a visual language that is increasingly complex and multifaceted. This new visual culture demands a critical engagement with images, encouraging viewers to consider not only what images show but how they are made, shared, and consumed. Embracing post-photography means acknowledging the role of images in shaping our understanding of the world, our relationships with others, and our sense of self.

Navigating the Challenges and Opportunities

The transition to post-photography presents both challenges and opportunities. On one hand, the democratization of image-making and the proliferation of images raise questions about authorship, authenticity, and the overload of visual information. On the other hand, these same conditions offer unprecedented opportunities for creative expression, political engagement, and social connection. Embracing the post-photographic condition involves navigating these challenges thoughtfully while seizing the opportunities to use images in innovative and meaningful ways.

Reimagining the Role of Photography

In the post-photographic era, the role of photography extends beyond the traditional boundaries of the medium. Photography becomes a tool for exploration, a means of questioning and redefining the ways we relate to the world and to each other. This reimagined role of photography invites practitioners and viewers alike to engage with images not just as objects of aesthetic appreciation but as participants in a broader dialogue about culture, identity, and reality. Embracing post-photography means embracing this expanded role of photography, recognizing the potential of images to provoke thought, evoke emotion, and inspire action.

Fostering a Critical Visual Literacy

Embracing the post-photographic condition also involves fostering a critical visual literacy, equipping individuals with the skills to navigate the complex landscape of digital images. This includes developing an awareness of the mechanisms of image production, distribution, and manipulation, as well as an understanding of the social and cultural implications of visual content. A critical visual literacy enables viewers to discern the nuances of the post-photographic landscape, making informed and reflective decisions about how they engage with images.

The post-photographic condition is not a departure from photography but an expansion of its possibilities. It reflects the evolving relationship between humans and images in the digital age, a relationship that is increasingly interactive, participatory, and fluid. Embracing this condition requires an openness to the changes it brings, a willingness to question and explore, and a commitment to engaging critically with the world of images that surrounds us. As we move forward, the post-photographic condition offers a lens through which to view not just the future of photography but the future of visual communication and cultural expression in the digital era.

References and Further Reading

The exploration of post-photography traverses a rich landscape of theoretical discourse, artistic practice, and cultural phenomena. The following references provide foundational texts, pivotal exhibitions, and critical analyses that have shaped the understanding of post-photography. These works collectively offer a comprehensive overview of the evolution, challenges, and implications of photography in the digital age, serving as essential resources for anyone seeking to delve deeper into the post-photographic condition.

Foundational Texts

1. Joan Fontcuberta (2015). La condition post-photographique. This seminal work by Fontcuberta examines the impact of digital technologies on photography and visual culture. It explores the concept of the iconosphere and challenges traditional notions of authorship, authenticity, and the photographic image.
2. David Tomas (1988). From Photograph to Postphotographic Practice: Toward a Postoptical Ecology of the Eye. Published in SubStance, Tomas’s article is an early exploration of the shift from traditional photographic practices to a post-photographic paradigm, emphasizing the changing relationship between the viewer and the image.
3. Fred Ritchin (1990). In Our Own Image: The Coming Revolution in Photography. This book anticipates many of the changes in photography wrought by digital technology, discussing the implications for truth, representation, and society.
4. William J. Mitchell (1992). The Reconfigured Eye: Visual Truth in the Post-photographic Era. Mitchell’s work critically examines the digital transformation of photography, addressing issues of manipulation, authenticity, and the changing nature of photographic evidence.

Pivotal Exhibitions

1. Tous Photographes (2007). An exhibition that acknowledged the democratization of photography through digital technologies and social media, highlighting the blurring of lines between professional and amateur practices.
2. From Here On (2011). A landmark exhibition held at the Rencontres d’Arles, curated by a collective of artists and thinkers, including Joan Fontcuberta. It presented works that utilized the internet and digital images to create new forms of photographic expression.
3. Mois de la Photo à Montréal (2015). Curated by Joan Fontcuberta, this exhibition focused on the post-photographic condition, showcasing works that interrogate the role of images in the digital age.

Critical Analyses

1. Hito Steyerl (2012). The Wretched of the Screen. Steyerl’s collection of essays explores the effects of digital technologies on art and visual culture, touching on themes relevant to post-photography such as the circulation of images and the impact of digital networks.
2. Clément Chéroux (2011). In the context of the From Here On exhibition, Chéroux discusses the implications of digital technologies for photographic practice, focusing on the themes of appropriation, manipulation, and the changing status of the photographic image.
3. Amalia Ulman (2014). Excellences & Perfections. Ulman’s Instagram project serves as a case study in the performative and conceptual possibilities of post-photography, blurring the lines between reality and representation in the digital age.

These references encapsulate the multifaceted nature of post-photography, offering insights into its theoretical foundations, artistic manifestations, and cultural impact. Together, they provide a rich resource for understanding the complexities of photography in the contemporary digital landscape.