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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We see it everywherewe turn. Actuvity are commenting using your Facebook account. I will also store these notes in my research folder. Goldsteinand Longo are artistswhose work, togetherwith that of a great number of their contemporaries,approaches thequestion ofrepresentationthroughphotographic modes, particularly all those aspects of photography that have to do with reproduction,with copies, and copies of copies.

This site uses cookies. Notify me of new comments via email. And ifwe thinkof Laurie Andersonin thisway,it mayseema bit odd, because Laurie Anderson’sparticularpresenceis effected throughtheuse of reproductivetechnologieswhich reallymake postmoderbism absent,or only thereas the kind of presencethatHenryJamesmeantwhen he said, “The presencebeforehim was a presence.

The Photographic Activity of Post-modernism – Douglas Crimp

Feedback Assignment 2 — uvcsjf. Thus the images which Levine has cut out of books of photographs by Andreas Feininger and Elliot Portershow scenes of naturethatare utterlyfamiliar.

For though Sherman is literallyself-createdin theseworks,she is createdin the image of already-knownfemininestereotypes; her selfis therefore understoodas contingentupon thepossibilitiesprovidedby theculturein which Sherman participates,not by some inner impulse.

You are commenting using your WordPress. And is it only the Americans who put their art in a museum? I will confine my thoughts to photography: Fill in your details below or click an icon to log in: This paragraph explains a difficulty. Ratherit is thepresenceof thesubject,ofwhat is photographed,”the tiny spark of photograpbic, of thehereand now, with which realityhas, as itwere,searedthe characterof the picture.


Help Center Find new research papers in: Once photographs acquire an aura, they will compete for museum gallery wall space and associated funding. It has, we mightsay,acquired an aura, only now ccrimp is a functionnot ofpresencebut ofabsence,severedfroman origin,froman originator,fromauthenticity. Pluralismis, as we know,thatfantasythatartis free,freeofother discourses,institutions,free,above all, of history.

A strange quote from Sherrie Levine which I did not quite understand other than when confronted by something unacceptable, she was able to compartmentalise it.

The impression I got is of work photographif made in which the message rather than the medium is important. But this kind of certifiablerarityis not what interestsme, nor its parallel in contemporaryphotographicpractice,thelimited edition. 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.

At the opposite end of thatspectrumis thephotographywhich is self-consciouslycomposed, manipulated, fictionalized,the so-called directorial mode, in which we findsuch auteursof photographyas Duane Michaels and Les Krims.

Fill in your details below or click an icon to log in: The photographic romantic, pictorial tradition seems to have been replaced by something more realistic. Email required Address never made public. Email required Address never made public. In their work the original cannot be located, is always differed: Leave a Reply Cancel reply Enter your comment here The presencethatsuch photographshave forus is thepresenceof deji vu, nature as alreadyhaving been seen, nature as representation.


Previous Photobraphic reading about postmodernism. Another idea put forward which to me is more understandable is that that unique properties of an image owe much to the intuition of the photographer and his ability to photogeaphic ideas.

The Photographic Activity of Post-modernism – Douglas Crimp – OCA Photography 3 “Body of Work”

Leave a Reply Cancel reply Enter your comment here In theirwork,the original cannot be located, is always deferred; even the selfwhich mighthave generatedan original is shown to be itselfa copy. This content downloaded from I think,to be fair,however,we mightjust as phoographic give themto Praxiteles,forif it is the image that can be owned, then surelythesebelong to classical sculpture,which would put themin thepublic domain.

Some keys sentences for me: This site uses cookies. Leave a Reply Cancel reply Enter your comment here Their aesthetic,which synthe- sizes postmoedrnism with optical qualities, definesitselfin conscious opposi- tion to photographyand all formsof mechanical reproductionwhich seek to deprive the art work of its unique “aura. The view I am expressing might be criticised as that of a connoisseur, crlmp who knows about and appreciates fine printing. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive.