The history books have been rewritten. Now, in addition to the established canon of photography from Europe and the United States, key artists and artworks from Latin America, Africa, India, Russia, China and Japan are also included in anthologies describing the progression of the medium over the years. This acknowledgement has helped a handful of photographers from previously ignored regions to be ‘discovered’ – which is remarkable, considering the fact that many of those practitioners had been working with the camera for a long while before eventually gaining international recognition.
Since the 1990s, more than merely a correction of the canon, there has been a slow but steady growth of an infrastructure that supports the stretched understanding of photography as a worldwide practice. This has altogether resulted in a genuinely worldwide model of events and (online) platforms. For the sake of progress, however, what should be prevented is that the globalized ‘art world’ more or less defines the practice of photography in certain countries by merely iconizing those ‘discoveries’. That is to say, we meanwhile need to continue to keep a vigilant eye out for emerging local artists. Or else we’ll continue the bias of having a blind spot for unknown territories. […]
Full article: GUP #50, Hidden Gems