scholarly journals Allan Sekula en Galicia: dos series fotográficas sobre trabajo, capitalismo y crisis

2020 ◽  
Vol 32 ◽  
pp. 137-159
Author(s):  
Miguel Anxo Rodríguez González
Keyword(s):  

Allan Sekula, uno de los principales referentes de la fotografía documental, realizó dos series en Galicia: Mensaxe nunha botella (1992) y Black Tide/Marea negra (2002-2003), resultado de dos encargos, el primero de la Fotobienal de Vigo y el segundo del periódico La Vanguardia. El fotógrafo centró su atención en trabajos y personas relacionados con el mar, desde estibadores hasta voluntarios y marineros involucrados en la limpieza de la costa tras el accidente del petrolero Prestige. Esta investigación se propone analizar las series, explicar las circunstancias de su realización y responder a la pregunta de hasta qué punto, tratándose de encargos, el fotógrafo se mantuvo fiel a su programa para la “nueva fotografía documental”, establecido en los primeros años de su trayectoria.

Antipode ◽  
2012 ◽  
Vol 44 (4) ◽  
pp. 1575-1578 ◽  
Author(s):  
BRETT STORY
Keyword(s):  

2018 ◽  
pp. 151-171
Author(s):  
Joseph B. Entin

In “Working Documentary: Labor Photography and Documentary Labor in the Neoliberal Age,” Joseph B. Entin analyzes the work of Milton Rogovin and Allan Sekula. The chapter emphasizes the self-consciousness with which these acclaimed photographers of labor generated new formal strategies to contend with the limitations of conventional documentary realism. Each, he shows, produced forms of labor photography attuned to the conditions of contemporary work and responsive to the widening social and economic forces shaping workers’ experience—and each thereby reanimated, or reworked, the project of photo-documentary for a late industrial, emerging neoliberal context.


2013 ◽  
Vol 4 (1) ◽  
pp. 129-137
Author(s):  
Hilde Van Gelder
Keyword(s):  

Photographies ◽  
2014 ◽  
Vol 7 (1) ◽  
pp. 109-111
Author(s):  
Lucy Soutter
Keyword(s):  

October ◽  
2014 ◽  
Vol 148 ◽  
pp. 133-142
Author(s):  
Benjamin H. D. Buchloh

Having just recently returned from a rare visit to Los Angeles, and wondering about the city's loss of Michael Asher and Allan Sekula in the past year and a half, I was suddenly struck by the idea that these artists must have made gargantuan efforts in that environment on a daily—if not hourly—basis to sustain their conviction in the viability of their practices. After all, the near-total erasure of any remnant of conventional structures of subjectivity and the dissolution of even the last residual spatial forms of the public sphere could hardly reach a more decisive state.


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