It is little short of scandalous that the Museum of Modern Art has never given a one-man show to a non-white photographer, for there are many at least as talented as some of those photographers the museum has chosen to show over the years. […]
It is little short of scandalous that the Museum of Modern Art has never given a one-man show to a non-white photographer, for there are many at least as talented as some of those photographers the museum has chosen to show over the years. […] On June 6, 2018, the aptly named website Artsy.net published “Photographer Robert Capa Risked It All to Capture D-Day — then Nearly All His Images Were Lost,” by Haley Weiss, under its “Visual Culture” rubric. It consists, in its entirety, of a rehash of the Capa D-Day myth, simply rewritten from one or more of the standard versions that our research project has thoroughly refuted. […] Collectively, Arbus, Friedlander, and Winogrand revised the ways in which photographers used their cameras, which changed the look of the resulting photographs, and that they made the photographer’s participatory role in the photographic event a foregrounded given, which transformed both the behavior of photographers and the way we interpret their work. […] This non-political, anti-theoretical posture denies categorically and consistently that such photographs are in any way about their literal subject matter, insisting instead that photographs are entirely about themselves and in no way concerned with either the photographer’s inner life or whatever took place in front of the lens at the moment of exposure. As a stance, it became not just widespread but almost mandatory among practitioners of this genre of photography. […] |