Tag Archives: Photography

Crow on Modernism & Mass Culture

“The sign of manufactured culture is empty diversity, an eclecticism resulting from market expediency, targeting consumers, and hedging bets. Modernist practice sustains its claim to autonomy by standing in implicit opposition to the diversity of material glut, the evident shape… Continue reading

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On Jeff Wall.

An excerpt from the series Contacts 2: The Renewal of Contemporary Photography, dedicated to the work of Jeff Wall.

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Galison on Modes of Scientific Seeing.

“In the eighteenth century, the most appropriate scientist to draw or depict the world was a kind of sage, or a genius, who could part the curtains of experience and draw the basic form of objects as they should be… Continue reading

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Foster on Pluralism and the ‘Return to History’

“Modern art engaged historical forms, often in order to deconstruct them. Our new art tends to assume historical forms — out of context and reified. Parodic or straight, these quotations plead for the importance, even the traditional status, of the new art. In certain… Continue reading

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Mitchell on The Image & Women.

“What is the moral for pictures? If one could interview all the pictures one encounters in a year, what answers would they give? Surely, many of the pictures would give Chaucer’s “wrong” answers: that is, pictures would want to be… Continue reading

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Chaban on the Documentary Image.

“The screen as a representational space offers a constant interplay between different modes of appearance which present themselves conventionally as ontological antinomies: reality and illusion, realism and fantasy, story and non- story, staged and unstaged, etc. It was probably inevitable… Continue reading

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Jaar on the Photographic Image.

“For me, what was important was to record everything I saw around me, and to do this as methodically as possible. In these circumstances a ‘good photograph’ is a picture that comes as close as possible to reality. But the… Continue reading

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Frank on the West and the Pioneer

“Here was the remotest reach of pioneering, where it fell westward from the Sierras. It had to stop. There was no farther way. The Orient was not a gate but a bar. In the North, newer incentives were already there… Continue reading

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Adams on Photographing Evil

“Few photographers themselves have, however, supported the use of the adjective “concerned” as a way of distinguishing one artist from another; they know firsthand that all art is the product of concern. They believe as a consequence that it has… Continue reading

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One off: Katy Grannan.

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