Posts Tagged ‘jeff wall’

John Szarkowski’s book The Photographers Eye was based on an exhibition of the same name held at the Musuem Of Modern Art in New Work in 1964. It featured the work of Friedlander, Evans, Strand and many others, and attempted to give an overview of the fundamental challenges and opportunities of the photographic medium. In the introduction to the book, he offers a brief historical overview of photography in terms of how it has evolved and how he sees it as a unique artistic medium.

Szarkowski begins by stating a core tenet of his outlook on photography which is that it is fundamentally different from other picture-making processes in that it is based on selection rather than synthesis – the photographer takes elements of the real world for his picture, whereas the painter makes the elements of his picture from scratch. This immediately posed a new creative dilemma – how can this process be used to create meaningful pictures and valid art? This question would not be answered by means of recourse to existing theories of visual art, but instead tackled by a rag-bag consortium of commercial photographers, amateur enthusiasts and casual snap-shooters, who may not have been consciously trying to answer it at all, but nevertheless have managed to evolve an aesthetic practice that defines what photography is. (more…)


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Why Photography Matters As Art As Never BeforeI became interested in Michael Fried’s recent tome of photographic art criticism after reading an interview with him in Aperture magazine. I thought it would serve as good overview of the work of a whole assortment of contemporary¬† photographers. It certainly did that – and much more besides.

In 1967 Michael Fried published a controversial essay called ‘Art And Objecthood‘ where he trenchantly criticised the minimalist art of the time. His main concern was what he saw as the art world’s slide into theatricality. By this he meant the inclusion of the viewers experience of viewing an artwork into the meaning of the artwork itself – the explicit acknowledgment of the role and presence of the viewer (or beholder), and the shift in emphasis away from the intentions of the creator. Fried instead championed art (mostly Modernist and Abstract) which effectively ignored the role of the beholder, was complete in and of itself, and which functioned as a direct vehicle for the aesthetic concerns of the artist.

He went on to develop these ideas by way of a series of art history books which revealed the same concerns to be at the heart of developments in 18th century French painting. In particular, the anti-theatrical tradition sought to produce art which denied the presence of a beholder by producing work that portrayed people in states of absorption – turned away from the viewer and engrossed in some activity that demands their complete attention.


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