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

By some means or other which is not clear to me Crimp defines the presence third time as a quality by example that is expressed by an individual, quoting Postmkdernism Anderson as an example I think he failed, I did not understand.

Notify me of new comments via email. And she does not createtheseguises; she simplychooses themin theway thatany ofus do. Published by Amano – Photographic Studies. This is not what interests Crimp.

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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. What I wanted to explain was how to get fromthisconditionof presence-the being therenecessitatedbyperformance-to thatkind of presencethatis possible only throughtheabsence thatwe know to be theconditionofrepresentation.

The Photographic Activity of Postmodernism | Douglas Crimp –

And is it only the Americans who put their art in a museum? Fill in your details below or click an icon to log in: It has, we mightsay,acquired an aura, only now it is a functionnot ofpresencebut ofabsence,severedfroman origin,froman originator,fromauthenticity. The pose of authorshipis dispensedwithnot only throughthemechanicalmeans crlmp making the image, but throughthe effacement of any continuous, essential persona or even recognizablevisage in the scenes depicted.


I find that this helps me to get a fair understanding of the essay by re-reading and re-writing. The withering away of the aura, the dissociationof the work fromthe fabricof tradition,is an inevitableoutcome of mechanical reproduction.

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

Email photographiv Address never made public. If I was to explain these details to my audience then the photograph would become one dimensional as I would be trying to dictate a singular truth.

Finally Crimp suggest that aura has been replaced by presence — i. 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 conceptualise ideas.

In Benjamin’s view,certainphotographshad an aura, while evena painting by Rembrandtloses itsaura in theage ofmechanicalreproduction. You are commenting using your WordPress.

Museums galleries use these criteria to establish authenticity. I wroteat thattimethattheaestheticmode that was douglaw the seventieswas performance,all those works that wereconstitutedin a specificsituationand photograpuic 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.

This second photograph is part of my Project: Reproduction’s “social significance,particularlyin its most positive form,is inconceivable,”wroteBenjamin, “withoutits destructive, catharticaspect,its liquidation of the traditionalvalue of theculturalheritage.

Review of ‘The Photographic Activity of Postmodernism (1993), Douglas Crimp

Work which photogrwphic a spectator for it to work; a kind of performance art. Leave a Reply Cancel reply Enter your comment here He shows fragments of commercial images to expose the fiction within. The a priori Weston had in mindwas not reallyin his mind at all; itwas in theworld,and Westononlycopied it.


These attemptsare manifest in two, contradictoryphenomena: I will confine my thoughts to photography: They were simplyrephotographedfromthe famousseriesby Edward Weston of his young son Neil, available to Levine as a dojglas published by the Witkin Gallery.

Instinctivelyand without effort,I dividedmyself,so to speak,into twopersons,ofwhom one, thereal,the genuine one, continued on her own account, while the other, a successfulimitationof thefirst,was delegatedto have relationswith the world.

One symptomof that crisis is the way in which our museums,one afteranother,around ,abdicatedtheirresponsibil- itytowardcontemporaryartisticpracticeand turnedwithnostalgia to theartthat had previouslybeen relegated to theirstorerooms.

Althoughit can also be his hand; one need only listento thepartisansof photographicsubjectivitydescribethemysticalritualperformedby thephotogra- pher in his darkroom. The desire existsonly ofrepresentation insofaras it neverbe fulfilled, insofaras theoriginal always be deferred.

In this case, does the aura surround the photographer rather than reside in the photograph? This attempts to displace the aura, putting it as quality of the copy not the original. But how is it thatphotographyhas suddenlyhad conferredupon itan aura? It helped me to see how institutional motivations inform the way in which our understanding of art is influenced, and how we perceive it.