Abigail Solomon-godeau Quotes
Silvia Kolbowski (born 1953) is an Argentine-born American artist whose work focuses on feminist and generally political issues, often from the point of view of psychoanalytic theory. Kolbowski works primarily with video and installation formats, as well as photography, often using historical figures and events to comment on present conditions. Her work has been exhibited in The Tapei Biennial, the Villa Arson (Nice), the Whitney Biennial, and the Hammer Museum, and others. She has had solo exhibitions at the Museum of Modern Art (Ljubljana), the Center for Contemporary Art (Warsaw), The Secession (Vienna), and LAX<>ART (Los Angeles)
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Contemporary art photography, or, more specifically, what I would term mainstream art photography, represents for the most part the mining of an exhausted lode.
As Plato insisted two thousand years ago, it is not by means of the image that moral, ethical, or political knowledge is produced.
The thing itself is never just out there in the world waiting to be framed by the photographer's Leica; rather, it is something dynamically produced in the act of representation and reception and already subject to the grids of meaning imposed on it by culture, history, language, and so forth.
Art photography, although long since legitimized by all the conventional discourses of fine art, seems destined perpetually to recapitulate all the rituals of the arriviste. Inasmuch as one of those rituals consists of the establishment of suitable ancestry, a search for distinguished bloodlines, it inevitably happens that photographic history and criticism are more concern with notions of tradition and continuity than with those of rupture and change.
In the final analysis, photography... is ever a hireling, ever the hired gun.
... photography, like all camera-made images such as film and video, effaces the marks of its making (and maker) at the click of a shutter. A photograph appears to be self-generated - as though it had created itself.
While the aesthetics of consumption (photographic or otherwise) requires a heroicized myth of the artist, the exemplary practice of the player-off codes requires only an operator, a producer, a scriptor, or a pasticheur.