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 âThe New British Documentâ; 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.
Comparing: National Museums; Territories; Nation-Building and Change. NaMu IV; LinkĂ¶ping University; NorrkĂ¶ping; Sweden 18-20 February 2008
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