Postmodernism in photography and the notion of post-photography seen through a retrospective analysis of color implication in Evergon’s work. This research is inspired by an inject print “Vegator Beach, Goa, India” 2001, by Evergon and baised on “Photography After Art Photography”, an essay by Abigail Solomon-Godeau and a book by W. J. Mitchell “Reconfigured Eye: The Visual Truth in The Post-Photographic Era” “Post Modernism : What does it mean? Rather than a style post modernism presented photographers with strategic options.
To use it more self-consciously, exploring depictions of the body, for example, through contemporary social, economic, and political discourse.
As a consequence, postmodernist photographers break into taboo subjects, representing for instance sexuality, (of children, of adolescents, gay men, .. ) A second postmodernist strategy is to exploit and embrace earlier styles in art, even styles condemned as artificial, and use them to make photography. ” (Pultz, John, Photography and the Body, The Orion PublishingGroup,London,1995(chapter6pp.
144-169). Postmodernism is a complicated term, or set of ideas, one that has only emerged as an area of academic study since the mid-80’s.
The problem with postmodernism is that it is hard to define because it is striving to be new all the time. How does it do this? It denies the any existence of the past but it re-uses it by deconstructing it into forms and pieces, which are unrecognizable. It is not only subject matter which is new it is also form.
In order to achieve new forms it uses past by referring to previous styles, genres and forms that creates something original.
Once it has been created it is no longer post-modern because it has become real, solid, it is no longer about the future it is about the past. Consequently, postmodernism is hard to define, because it is a concept that appears in a wide variety of disciplines or areas of study, including art, architecture, music, film, photography, literature, sociology, communications, fashion, and technology.
It’s hard to locate it temporally or historically, because it’s not clear exactly when postmodernism begins, but according A. Solomon-Godeau, talking about postmodernism in photography, we may take as a point of departure a “Mirrors and Windows” photo exhibit, organized by john Szarcovski in 1977, where within modern photography the idea of postmodernism came to the fore of the days of the issues of respective uses of photography, raised by Andy Warhool, Robert Ruchenberg and Ed Rusha.
Those (postmodern) ideas actually encompassed photography and encouraged the mixing of other media with photography, allowing photographers to experiment with the medium and its possibilities, crossing borders and breaking down taboos in relation of art making. “Those process of quotation, excerption, framing, and staging (… ) necessitate uncovering strata of representation” stated A. Solomon-Godeau, in “Photography After Art Photography” essay, and as we can see it in Evergon’s early collages, Xerox color prints, Interlocking Polaroids, and large-format Polaroids.