Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Photography as Model? *

Photography as Model? * Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photography as a museum department or academic field of study offers the promise to counter far larger impulses toward totalization, above all in a marketplace beset by an obsession with global contemporary art. What the study of photographs can model is a field of creation that moves in, under, and against “art in general.” http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png October MIT Press

Photography as Model? *

October , Volume Fall 2016 (158) – Oct 1, 2016

Loading next page...
 
/lp/mit-press/photography-as-model-ID32hnyHzq
Publisher
MIT Press
Copyright
© 2016 October Magazine, Ltd. and Massachusetts Institute of Technology
ISSN
0162-2870
eISSN
1536-013X
DOI
10.1162/OCTO_a_00267
Publisher site
See Article on Publisher Site

Abstract

Witkovsky argues that decades into photography's institutional acceptance as art, widespread inadequacies remain in the art historical treatment of photographs, which can no longer be defended as manifestations of a separate or distinctive “medium.” Insufficient attention to formal procedures, such as darkroom interventions between the stages of negative and print, as well as to disciplinary history—including the introduction of the very term “medium” in photographic discourse around 1930—remain commonplace. Yet despite a persistent tendency to totalize photography as a creative domain, photography as a museum department or academic field of study offers the promise to counter far larger impulses toward totalization, above all in a marketplace beset by an obsession with global contemporary art. What the study of photographs can model is a field of creation that moves in, under, and against “art in general.”

Journal

OctoberMIT Press

Published: Oct 1, 2016

There are no references for this article.