DOUGLAS CRIMP THE PHOTOGRAPHIC ACTIVITY OF POSTMODERNISM PDF

Good reminder not to become complacent. Mary Kelly , Phaidon, , London: He was editor of October from to Examining relationships between the arts and their critical and social contexts, October addresses a broad range of readers.

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Work which demands a spectator for it to work; a kind of performance art. The impression I got is of work being made in which the message rather than the medium is important. Hence, photography becomes a vehicle for something else. In postmodernist art this is not usually noticeable, it is the concept that matters rather than the way that concept has been communicated. Benjamin did not lament the loss of the aura seeing the photograph as a new objective art form yet these early photographs have now acquired an aura of their own as have later ones.

The view I am expressing might be criticised as that of a connoisseur, someone who knows about and appreciates fine printing. However, the print quality is not the only aspect of the photograph worth considering, there is also the record of an unrepeatable moment in time. In his essay, Crimp focuses on three American artists who use photography.

These are Cindy Sherman who photographs herself in an array of different guises, Sherrie Levine who rephotographs classic photographs by well known photographers like Edward Weston and finally, Richard Prince, who rephotographs advertisements such as those showing cowboys used to promote cigarettes.

What all these photographers are doing is creating a new body of work out of something pre-existing though with Sherman this is not straightforward while Levine and Prince also have their own distinct approaches.

Examining this approach in light of my own work, I think of my recreations of Magritte paintings. Sometimes these can be exact as possible copies as in The Lovers or sometimes involving Magritte motifs as in the apple through which eyes stare. This is a body of work I might consider as part of the B. View all posts by Amano - Photographic Studies. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account.

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Review of ‘The Photographic Activity of Postmodernism (1993), Douglas Crimp

Before I start on my review of this article I have to begin by admitting that I really struggled to decipher some of the points that Crimp was trying to explain. For this reason I have felt uncomfortable in relying fully on my translation and have, therefore, read wider to better understand the concept of postmodernism as related to photography. The key words here seem to be representation and appropriation. This first photograph below is based of my Project: Lost.

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The Photographic Activity of Postmodernism – Douglas Crimp (1993)

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Thoughts on Douglas Crimp’s essay The Photographic Activity of Postmodernism

Work which demands a spectator for it to work; a kind of performance art. The impression I got is of work being made in which the message rather than the medium is important. Hence, photography becomes a vehicle for something else. In postmodernist art this is not usually noticeable, it is the concept that matters rather than the way that concept has been communicated.

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