- "photography became relevant because it evolved to record/describe rather than to express/aestheticize" (266).
- asking "can photography show us something that art isn't?" rather than "is photography art?" (266).
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- camera as "pure instrument of reproduction, 'a dumb copying device'" (262).
- "relieve artists from aesthetic decision-making and leave them free to concentrate on pure idea" (262).
thomas ruff:
> "makes images of images, representations of representations" (262).
> "to amplify the semantic limitations of the medium" (263).
> "photography as nothing more than an apparatus for the production of images" (263).
nudes, 2001
bruno seralongue:
> "develops methodologies to reduce his authorship decisions to minimum" (263).
> "demoting himself from 'artist' to pure 'operator'" (263).
> "works to critique role of photojournalist as empowered/privilege witness to world events" (263).
escalier central, 2000
shirana shahbazi:
> "practices an emphatically utilitarian documentary approach" (263).
> "individual images appear excruciatingly banal" (263).
> "yet her images accumulate into a set of 'micro-events' that collectively map her subject" (263).
goftare nik, 2000-2001
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- "fusion of reportage photography with pre-conceived performative acts" (264).
- engagement of audience through aspects of the gaze/confrontation.
boris mikhailov (focus on case history series):
> "pays these people to reveal their bodies and to perform intimate acts in which he examines forensically" (264).
> "we as spectator are the ones who are humiliated/degraded by the confrontation" (264).
> "casts his work as a theatrical representation of social reality" (264).
case history series, 1998
shizuka yokomizo (focus on strangers series):
> sends letters to strangers, saying she ("the artist") will be outside their window at a certain time, and if they choose to participate, to draw their curtains and look out towards her, but they must never attempt to make contact with her again.
> "both photographer and subject are looking and being looked at: both are active subjects of their own gaze, and, simultaneously, passive objects of the gaze of the Other" (265).
stranger series, 1999
nikki lee:
> she adapts and blends into a chosen community for a period of weeks/months and the product is recorded in "photographs that mimic the code of amateur photography" (265).
> "identity is understood as constantly fluctuating through a set of shifting relationships with other people" (265).
> "the self is defined in relation to what, and who, is around" (265).
the hispanic project, 1998
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- "'clip and montage artists' who raid pop culture for raw material" (265).
- "reality is represented as always constructed in representation" (265).
amy adler:
> "investigates the complex ways images can both encapsulate and catalyze desire" (265).
> "she develops the original photo, makes a pastel drawing, and then photographs her drawing" (266).
> "each of her cibachromes is only one in a series, thus could be said to be non-unique and interdependent" (266).
amy adler photographs leonardo dicaprio, 2001
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