Melinda Gibson: The Photograph as Contemporary Art
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To return to the prescient anonymous essay that appeared in Camera Work more than a century ago, 'The conclusion, then, that we have come to is, that photography is one of the fine arts, but no more allied to painting than to architecture, and quite as independent…as any of the other arts…Photography is photography, neither more nor less.'
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Commentary on thisphotography galleryincorporates the thinking of Carl Jung and and the role of myth and the unconscious in the fascinating symbols and meaning ofcemetery and memorial art.
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It's important to note that the Cotton introduced her text by asserting, 'The aim of this book is not to create a checklist of all of the photographers who merit a mention in a discussion on contemporary art' , and many of the artists included in it were not yet part of any particular canon, but were instead rather unexpected, unconventional, or little-known at the time.
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In a 2011 interview, Cotton herself remarked, 'I could only write [The Photograph as Contemporary Art ] now if "Contemporary Art" was understood as a museological term for a period in art-making that, for most museums, started around 1965 and ended around 2010...I think that the very nature of the time that we're now living through has led me to change my opinion about lots of things profoundly.