The Photographic Activity of Post-modernism – Douglas Crimp. 5 January I was relieved to find that this essay was not about. The Photographic Activity of Postmodernism . attribute to the kind of photographic activity I call postmodernist. .. Douglas Crimp, “Pictures,” October, no. Your use of the JSTOR archive indicates your acceptance of JSTOR’s Terms and Conditions of Use, available at.

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They are, in the firstplace, dedicated to the preservationof painting as a transcendentalhigh art, and an art of universal as opposed to local or topical significance. But this kind of certifiablerarityis not what interestsme, nor its parallel in contemporaryphotographicpractice,thelimited edition. Notify me of new comments via email. To find out more, including how to control cookies, see here: This site uses cookies. Remember me on this computer. One symptomof that crisis is the way in which our museums,one dpuglas ,abdicatedtheirresponsibil- itytowardcontemporaryartisticpracticeand turnedwithnostalgia to theartthat had previouslybeen relegated to theirstorerooms.

The pose of authorshipis dispensedwithnot only throughthemechanicalmeans of making the image, but throughthe effacement of any continuous, essential persona or even recognizablevisage in the scenes depicted.

The Photographic Activity of Post-modernism – Douglas Crimp

To authenticatephotography requires all phototraphic machineryof art history and museology,with a fewadditions,and more than a fewsleightsofhand. This may douflas be perceived as a form of ghostly presence. This first photograph below is based of my Project: This notion of presenceis what we mean when we say, forexample, thatLaurie Andersonis a performerwith presence.

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This paragraph explains a difficulty. This ambiguityof narrativeparallels theambiguityof theselfthatis both actorin thenarrativeand creatorof it. Certain techniques,paper types,and chemicalshave passed out ofuse and thustheage ofa print can easily be established.

Thoughts on Douglas Crimp’s essay The Photographic Activity of Postmodernism – Amano Level Three

You are commenting using your Facebook account. But theseare only thetermsof styleand mode of theagreed-uponspectrumofphotography-as- art. In orderto do so, I want to add a thirddefinitionto theword presence. It is only in theabsence of theoriginal thatrepresentation may takeplace.

These werephotographsof theso-calledprimitivephase, theperiod 2. Email required Address never made public. Against this pluralism of originals, I want to speak of the pluralityof copies. We use information technology and tools to increase productivity and facilitate new forms of scholarship.

Some keys sentences for me: In this example I have begun to remove the artificial grass that the footballers are activtiy on.

Although, thinking about it, in a culture that has only a few hundred years of history, most artifacts more than a fortnight old would belong in a museum! It was attributed to two things, the long exposures necessary as a result of the available techniques and the resulting rapport between the sitter and the photographer.

If I was to explain these details to my audience then the photograph would become one dimensional as I would be trying to dictate a singular truth.

They use art not to reveal theartist’s trueself,but to show the selfas an imaginaryconstruct. I find that this helps me to get a fair understanding of the essay by re-reading and re-writing.


The desire existsonly ofrepresentation insofaras it neverbe fulfilled, insofaras theoriginal always be deferred. We know, forexample, the impossibilityof experiencingtheaura of such a phltographic the Mona Lisa as we stand beforeit at the Louvre.

He said, forexample, that the people in theseearlyphotographs “had an aura about them,a medium which mingled with theirmanner of looking and gave them a plenitude and security.

Photography is always a representation. I think a gallery is a much better place for it. This quality of presencewould seem to be just theopposite of what Walter Benjamin had in mind when he introducedinto the language of criticismthe notion of the aura. Once photographs acquire an aura, they will compete for museum gallery wall space and associated funding. By the midsanother,more serious symptomof the museum’s crisis appeared, theone I have alreadymentioned: For douglass has long been a commonplace of art historythat realism and expressionismare only mattersof degree,matters,thatis, of style.

A group of young artistsworking with photographyhave addressedphotography’sclaims to originality,showing those claims forthefictiontheyare,showingphotographyto be alwaysa representation, always-already-seen.

I love to imagine what it must have been like to see photographs for the first time — the magic those early examples must have looked like, i. You are commenting using your Facebook account.