Dialogue 2: Photography, panel discussion

PANEL DISCUSSION at Zeitgeist in Hillsboro Village, Nashville, TN, TUESDAY, EVENING MAY 13th 6-8PM

Zeitgeist will host the second panel discussion from the Dialogues exhibition series TODAY from 6 to 8PM in the gallery to address topics related to the medium of photography (see last week’s Tennessean article on the first panel held for the medium of painting).

I will be joining Caroline Allison (artist and Watkins College professor of photography) and Wendy Koenig (professor of Art History at Middle Tennessee State University and ArtPapers contributor) in the panel discussion. Hope you can be there and contribute.

address: zeitgeist 1819 21st Avenue South in Hillsboro Village

“We hope to engage viewers to explore the wealth of art and artists in our area. Our goal as a gallery is to be a resource to those viewers who value the connection between the visual arts and the Nashville community at large and to provide a richer experience for those moved by the art, the artists, and the creative process.” – Zeitgeist

For more information on all events, please visit the Zeitgeist website or call Janice Zeitlin or Lain York at 615-256-4805.

Some of the topics we hope to cover are:

  • Referring back to the Painting Dialogue panel’s question regarding
    “painting’s authority,” does photography operate outside of that authority? Given
    that photography is employed by so many different practitioners (both
    amateurs and professionals) and reaches a variety of audiences, do we
    necessarily approach or address photographs differently from paintings?

    How is it possible to create “documentary” photography in the
    present age? How has this genre of photography adapted to the shift to digital
    processing and the fact of increased censorship (restrictions) on subject matter?
    Do the photographs from Abu Ghraib find a place in this discussion?

    Is the so-called “digital age” of photography a genuine revolution?
    Given that digital imagery is closer to printmaking than the wet lab process, and
    that it is a mathematical procedure as much as a visual one, how has this
    affected our understanding of photography’s function, aesthetic potential and
    truth value?

    Is one aspect of the digital age a relaxation of our resistance to
    “manipulation”? In other words, is there an expectation of manipulation to the
    degree that the viewer has abandoned traditional notions of “truth” or “fact” in

    In the present day, what do we mean by an “image,” as opposed to or in
    conjunction with a “photograph,” which, at some level, relies upon a
    physical object (negative, print)? Is it possible that traditional photography
    will find its own “abstraction” as digital processes take over the task of

    How does photographic practice (technique) affect the analysis or
    critique of the finished product?

    What compels a photographer to want to exhibit his or her work? Where
    does the museum/gallery system find itself in the age of widespread Internet
    distribution of photographic imagery?

    Is there a schism between commercial and fine art photography and, if so, what
    are the parameters of that distinction?