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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My firstself remains at a distance, impassive, ironical, and watching. Their aesthetic,which synthe- sizes tactile with optical qualities, definesitselfin conscious opposi- tion to photographyand postmodegnism formsof mechanical reproductionwhich seek to deprive the art work of its unique “aura. You are commenting using your Facebook account.

Learn how your comment data is processed. Leave a Reply Cancel reply Enter your comment here We know, forexample, the impossibilityof experiencingtheaura of such a pictureas the Mona Ppstmodernism as we stand beforeit at the Louvre.

The Eighties- thatoracular exhibitionstaged in the fall of to demonstratethemiraculous resurrectionof painting-Barbara Rose told us: But how is it thatphotographyhas suddenlyhad conferredupon itan aura? 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!

The Photographic Activity of Post-modernism – Douglas Crimp

Skip to main content. This site uses cookies. This site uses cookies. Email required Address never made public. Fill in your details below or click an icon to log in: This third photograph below is a much closer example of postmodernist appropriation.

Notify me of new comments via email. Mona Lisa is devalued because the image is so familiar. This first photograph below is based of my Project: In this example I have begun to remove the artificial grass that the footballers are playing actvity. He said, forexample, that the people in theseearlyphotographs “had an aura about them,a medium which mingled with theirmanner of looking and douglax them a plenitude and security.


These werephotographsof theso-calledprimitivephase, theperiod 2. As such, her photographs reversethe termsof art and autobiography.

The Photographic Activity of Postmodernism | Douglas Crimp –

I will confine my thoughts to photography: You are commenting using your WordPress. You are commenting using your Twitter account. Since thedoor was only half closed, I gota jumbled viewofmymother and fatheron the bed, one on top of theother. These attemptsare manifest in two, contradictoryphenomena: Fill in your details below or click an icon to actifity in: Certain techniques,paper types,and chemicalshave passed out ofuse and thustheage ofa print can easily be established.

These institutionscan be named at theoutset: Thus the images which Levine has cut out of books of photographs by Andreas Feininger and Elliot Portershow scenes of naturethatare utterlyfamiliar.

Review of ‘The Photographic Activity of Postmodernism (), Douglas Crimp | Major Project

You are commenting using your Facebook account. The museum has embracedboth of thesephenomena with equal enthusiasm,not to say voraciousness. I find that this helps me to get a fair understanding of the essay by re-reading and re-writing. To find out more, including how to control cookies, see here: The plstmodernism that I am appropriating is the view or reality and what it represents. It comes in all guises-pattern painting, new-imagepainting, neoconstructivism, neoexpressionism;it is pluralist to be sure.

Benjamin suggested the only photographs that carried aura were those made prior crimo its s commercialisation.

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

Writinga manifesto-liketextfor the catalogue of photgraphic AmericanPainting: It is not somethinga handmade work has that a mechanically-madework does not have. Hence, photography becomes a vehicle for something else. 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.


CindySherman’sphotographs functionwithin thismode, but only in orderto expose an unwanteddimensionof that fiction,for the fictionSherman discloses is the fictionof the self. Crimp admits that his use of the word subjectivity plays into my above question. Ratherit is thepresenceof thesubject,ofwhat is photographed,”the tiny spark of chance, of thehereand now, with which realityhas, as itwere,searedthe characterof the picture.

How has photography now 70s been conferred aura? I wroteat thattimethattheaestheticmode that was exemplaryduring the seventieswas performance,all those works that wereconstitutedin a specificsituationand fora specificduration;worksforwhich it could be said literallythatyou had to be there;works,thatis, whichassumed the presence of a spectatorin frontof the work as the work took place, thereby privilegingthe spectatorinstead of the artist.

How can something be after what is current? Not sure — think I might be confusing things here — Trying to get to grips with these terms.

If Levine’s photographsoccupya place on thatspectrumofphotography-as- art,it would be at the farthestreaches of straightphotography,not only because thephotographsshe appropriatesoperatewithin thatmode but because she does not manipulate her photographs in any way; she merely,and literally,takes photographs.

Remember me on this computer.

For themuseum has no truckwithfakesor copies or reproductions. At a recentexhibition, Levine showed six photographs of a nude youth. The marketplaceis gluttedwith it.