Tag Archives: Criticism

Bertens on Postmodernist Deconstruction and ‘Avant-Garde’ strategy

“The politics of this postmodern avant-garde, as theorized by Crimp, Owens, Foster, Abigail Solomon-Godeau, and others, are primarily aesthetic. Although the strategies involved, such as appropriation and hybridization, are supposed to open the eyes of the larger public to the… Continue reading

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Jameson on Haacke

“Haacke poses the political dilemma of a new cultural politics: how to struggle within the world of the simulacrum by using the arms and weapons specific to that world which are themselves precisely simulacra? This explicitly political work, which reaffirms… Continue reading

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Batchen on Daguerre’s “Still Life” (1837)

“Of the various daguerreotypes by Daguerre that do survive, one in particular is often reproduced in histories of photography as the earliest extant example, as Daguerre’s first photograph. Dated 1837, this full-plate daguerreotype is usually titled Still life or The artist’s studio… Continue reading

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Scheppe on The Image

“The image, it might be said, is not understood if one only sees through it without seeing the image itself. Only when it reveals its very constructedness, partiality, and artificiality can the image become a cognitive means of insightful seeing.… Continue reading

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Campany on the ‘Late’ Photograph

“Over its one hundred and seventy year history, there was a finite period in which photography carried the weight of events and defined what an event was. In its first several decades the medium was slow and cumbersome both in… Continue reading

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Smithson on The New Monuments

“Instead of causing us to remember the past like the old monuments, the new monuments seem to cause us to forget the future. Instead of being made of natural materials, such as marble, granite, or other kinds of rock, the… Continue reading

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Phillips on the Realities of Landscape Photography

“The intellectual control of the land, our mastery of it, appears to be coming apart at the seams. The idealization of individualism and of corporate enterprise, so vividly optimistic in nineteenth century photographs and so important to the word of… Continue reading

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Adams on Space and Freedom

“Although presumably the photographers who took the early landscapes did not intend such an analysis of our country, since they witnessed no more than the opening events, their pictures do lead us now to reflect on a tragic progression. They… Continue reading

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Arnold on Ruwedel

“The difficulty in reconciling caption and photograph, together with the alien appearance of the landscape, turns speculation toward the extent to which the act of naming signalled the arrival of the frontier and the process of displacement it initiated, in… Continue reading

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Scheppe on Schulz-Dornburg and Seriality

“The first and most universal form in the codified articulation of Ursula Schulz-Dornburg’s work consists of cycles and series based on a dismissal of the individual images’ fetishization. The principle of the sequence found its way into contemporary art via Minimalism… Continue reading

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