Thinking Ahead (Modernsim-Postmodernsim and back again)

The camera is just a mechanical recording device – we need the imagination of the user to give meaning to the result. Which to consider – which give meaning to us – and which are trivial?
Gursky’s ‘Rhine’ – uses photography and the digital manipulation to question our place in the world so the theory is an artistic perspective even if it is merely a ‘banal’ example of a photograph.
What is the difference between a photographer & an artist? Between Photography & Art?
Multiple plurality of photographic uses.
“Photography is not Art. But photographs can be made into Art” (De Zayas, 1913, p.130) Modernist perspective that through photography the artist could communicate with the world afresh
Art photography “objective conception of an idea”
Modernists considered art photography above commercial and printed & signed limited numbers even though the photograph is infinitely reproducible.
Photography should be judged by it’s own meanings & not through the lexicon of other forms of representation (painting)
Who is right? The Author (and his meaning) or the critically informed viewer?

Postmodern –

Inclusive while rejecting the elitist artistic canon of Modernism.
Perfomative approach. Mechanical recording of the event more important than form or composition
Modernism very narrow viewpoint whereas postmodern is more inclusive & eclectic. (staged photography & blurring of photographic fact with fiction) – snapshot vernacular aesthetic (Trish Morrissey) found photography & re-appropriation. Everything that has been said has already been said before.

Artists returning to the unique quality of the print by altering / destroying it as rejection of digital’s infinite reproducibility
Photograph as sculpture by incorporating it with other objects
Gallery system is integral part of the reading of these image styles

  • Do you consider these approaches valid as ‘Art’?
  • How important are the principles of photographic craft skills?
  • How important is the idea of the photographer as subjective author?
  • Where do you position your own practice with regard to these ideas of postmodern plurality?
  • Do we simply live in a world of recycled images?
  • Can we be original any more?
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