[I]n the past two decades Greek art photography has grown enormously, deriving stimuli both from the international photography scene, with which it now keeps pace, as well as from the fast development of Greek society. This growth coincided with and was affected by a broader turn of the Greek society towards the technological image in the second part of the ’80s, mostly through the appearance of private TV channels and a literal explosion of illustrated magazines.
A notable change from post-war photography is that documentary photography and the photogenic Greece of classical ruins and mediterranean light do not dominate as exclusively as before.
Art photography in Greece possesses now breadth and depth, assembling a multitude of approaches that include social documentary and street photography, staged and conceptual photography, experimental and digital techniques, video and installations comprising photography.
The conclusion drawn, supported by the large Image and Icon exhibition 1997, which explored the major photographic trends in Greece during the period 1975-1995, is that no particular “greek” idiom emerged as a distinctive, collective style, despite the strong personal style that many photographers achieved or the fact that they address local social and historical issues. This issue of PRIVATE presents a small sample of contemporary Greek photography from 1995 onwards. (Hercules Papaioannou)