This lecture, titled ‘Photographic Language in Postmodernism’, focuses upon the massive expansion of digital technologies, particularly that of the photographic medium, within socio-economic framework of capitalist structure, and how that led to the inevitable confrontation of photographic imageries in the routine of daily lives, which consequently led to the birth, the very beginning, of a new visual language.
The session will commence with notes on the disappearance of analogue photographic technologies in the commercial market, which is an effect of the continual growth and demand of the digital platform, and provide examples of photographic technological advancement within the last three decades. Proceeding, the lesson will move on to how such technological advancement attributed to the observable rise of imageries, specifically within the sectors of journalism, editorial, and advertising photography, which in turn cultivate the taste judgements of societies. Here, examples of said genres of commercial photography will be provided simultaneously for the apprehension of the audience, and will emphasis on the relation between the production of such photographic imageries in the generation of a new form of visual information, much like a language, that communicates, educates, or even dictates the thinking, the desires, of the populace.
Next, the lecture will speak regarding the emergence of Postmodernism, alongside the ongoing consumption of photographic imageries, and explain certain conceptual similarities and differences between the Modernism and Postmodernism, the ideological phases experienced by the world in a short hundred odd years, and elaborate upon how at the height of latter, the intellectualism that lays foundation to said movement, influenced the paradigm, methodologies, methods of art practices, and how the rapidly developing photographic medium morphs and transforms, as it finds its way within practices of Postmodern art.
In the last section of this session, the lecture will look at examples of the position of the photographic medium in Postmodernism, inclusive of all subspecies of movements, with works by Francesca Woodman, Cindy Sherman, Sally Mann, Jeff Wall, Nan Goldin, Andreas Gurksy, Barbara Kruger, Edward Burtynsky et cetera.