Conference article

Institutionalizing Photography

Iro Katsaridou
Aristotle University of Thessaloniki, Greece

Download article

Published in: Comparing: National Museums; Territories; Nation-Building and Change. NaMu IV; Linköping University; Norrköping; Sweden 18-20 February 2008

Linköping Electronic Conference Proceedings 30:22, p. 301-309

Show more +

Published: 2008-05-20


ISSN: 1650-3686 (print), 1650-3740 (online)


Founded in 1997 the Museum of Photography in Thessaloniki constitutes the first “national” institution in Greece dedicated to the medium of photography. Being the result of a conference initiated by the Greek Ministry of Culture in 1994 defining Greece’s “national policy for art photography”; the new museum seems to summarize the way contemporary Greek photography is institutionalized through the last three decades.

The paper focuses on the way in which this institutionalization is correlated with the photographic production of the mid-1970s and 1980s; as well as with how this was received and interpreted by the contemporary critique.

On a second level; the Greek paradigm is compared to photographic trends on an international scene; and more specifically with what is called as “The New British Document”; a photographic movement that emerged during the 1970s and 1980s and was directly connected with the cultural policy followed by a number of art institutions in the U.K.


No keywords available


Avgita; L.; ‘Kataskevazontas ti “Nea Vretania”: I “Nea Vretaniki Techni” tis dekatias tou ’90’ [‘Constructing “New Britain”: The “New British Art” of the 1990s’]; in 3rd Panhellenic Conference of Art History; Thessaloniki 2–4 November 2007; conference proceedings forthcoming.

Brantlinger; P.; 2002; ‘A Response to Beyond the Cultural Turn’; The American Historical Review; Vol. 107; No 5; 107.5/ ah0502001500.html; last accessed on May 1st 2008.

Foster; H.; 1996; The Return of the Real (Cambridge; Massachusetts- London; England: The MIT Press).

Groys; B.; 2002; ‘Art in the Age of Biopolitics: From Artwork to Art Documentation’; from the Catalogue to Documenta 11 (Ostfildern-Ruit: Hatje Cantz).

Gupta; S. (ed.); 1993; Disrupted Borders (London: Rivers Oram Press).

Imerida yia tin Kallitechniki Fotografia; [Conference for Art Photography]; 1994; (Greek Ministry of Culture; National Cultural Cities Network; Athens).

Ramirez; M.C.; 1996; ‘Brokering Identities: Art curators and the politics of cultural representation’; in Greenberg; R.; Ferguson; B.W.; Nairne; S. (ed.) Thinking about Exhibitions (London and New York: Routledge).

Rancière; J.; 2004; Malaise dans l’esthétique (Paris : Editions Galilée).

Sassen; S. 2001; Global City; New York; London; Tokyo (Princeton University Press).

Schama; S.; 1995; Landscape and Memory (New York: A.A. Knopf).

Simitis; C.; 2000; ‘Parousiasi ton theseon tou PA.SO.K’ [‘Presentation of the PA.SO.K (Greek Socialist Party) positions’]; Athens; March 29th; 2000;; last accessed on May 1st 2008.

Stallabrass; J.; 1999; High Art Lite: British Art in the 1990s; (London and New York: Verso).

Stallabrass; J.; 2004; Art Incorporated (Oxford University Press).

Stathatos; J. (ed.); 1988; A Post-Classical Landscape: The Greek Photography in the 1980s (Athens: Hellenic Centre of Photography).

Stathatos; J. (ed.); 1996; The Invention of the Landscape: Greek Photography and Landscape (Thessaloniki: Camera Obscura).

Stathatos; J. (ed.); 1997; The Image and the Icon: The New Greek Photography (Thessaloniki: Macedonian Museum of Contemporary Art).

Watney; S. 2006; ‘Tunnel Vision: Photographic Education in Britain in the 1980s’; Afterimage; January – February; Vol. 33; Issue 4.

Wells; L. 1997; ‘Photography as Art’ in Wells; L. (ed.); Photography: A Critical Introduction (London and New York: Routledge).

Zizek; S.; 1997; ‘Multiculturalism; or The Cultural Logic of Multinational Capitalism’; New Left Review; I; n. 225; Sep- Oct.

Zizek; S.; 2004; ‘From Politics to Biopolitics…and Back’; The South Atlantic Quarterly; vol. 103; n. 2/3; Spring/Summer.

Citations in Crossref