Serious museum directors and some gallerists are now discovering the value of Evans or Atget albeit belatedly. In recent years photography has produced and accepted all kinds of innovations and artistic perversions. Her limits were stretched to the point of rape. From Adam Fuss abstract Cibachrome prints of the gastric juices of a butchered hare to Andrès Serranos fist fucking from Jeff Walls often naive digital mashups of disparate elements to JoelPeter Witkins corpses in formalin photography proved that she is capable of everything for better and for worse that she can understand the pages of the most fashionable art magazines that she can sell at ridiculously high prices that she can play it like her big halfsister painting falling once again into the trap of a neopictorialism.
Although these exaggerations were partly useful like any childhood illness because firstly every art in order to define its expressive space is entitled to resort to extremes and secondly because from the moment everything is possible and acceptable the photographer must set his own limits and thus his work becomes even more personal. After all now that everything is done now that everyone has calmed down now that the photo has been accepted its time to take more and better photos again. one can observe that photo background removing photography in the last twenty years has been divided into three categories. First in the photography that preoccupies the media advertising and journalistic which now rarely claims anything more than professional distinctions with the exception of a few reportage cases where professional visibility tries to hide behind emotional underlinings of scenes of misery photographed with formalistic sophistication.
Second in the photography that preoccupies featured commercial galleries some museums art connoisseurs and specialized art magazines. This photo can be clearly figurative facilities etc. so emphasis is placed on the materiality and the way the image is presented. It may be conceptual or postmodern in which case the accompanying texts and theoretical positions play a greater role than the work itself that evokes them. It can finally investigate the function and role of the photographic image in society and in art so it turns into a tool of study and observation from an artistic work that it started to be. The third last and largest category in production volume is what I would call visual poetics which has the least chance of exposure but the greatest potential to generate emotion.
发表于 2022-10-22 18:40:54
