Tag Archives: Criticism

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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Scheppe on Photography

“Unlike painting, sculpture, music, and (with reservations) poetry, photography employed as an artistic medium does not issue from a genuinely artistic material origin. The material is not itself a reserve for artistic expression, and the means of communication and aesthetic… Continue reading

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Cadava on Photography & History

“We could even say that the lesson of the photograph for history — what it says about the specialization of light, about the electrical flashes of remote spirits — is that every attempt to bring the other to the light of… Continue reading

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Robert Storr on Gerhard Richter’s 18 October 1977

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Warstat on the Damaged Image

“Pictures seem to bear the accidental scars of damage with a dignified indifference. The image seems to be sealed off in a kind of self-enclosure. Similarly, the tradition of crucifixion painting and sculpture seems to need the presence of the… Continue reading

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Rancière on Rupture and Dissensus

“This is, after all, what ‘critique’ means: separation. When Rousseau wrote his Lettre sur les spectacles, this separation was emblema­tized by the apparently innocuous description of an ancient statue, that by Johann Joachim Winckelmann of the Torso of the Belvedere. The… Continue reading

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