Certainly photography teachers have done much to develop public awareness of the medium’s history and its influence on our culture. We have also successfully established and elevated those standards of craft which are the gauges for all who work in the medium. Nor have those been our only accomplishments. We have entrenched ourselves firmly — perhaps irrevocably — in the groves of academe. And we have, in record time, glutted the market for art photographs, for career art photographers and for teachers of art photography. […]
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One obligation facing any curator engaging with Heinecken’s work for the Museum of Modern Art is to explain to the audience the pervasive influence on the medium of this museum’s Department of Photography as gatekeeper during the period 1965-85, because much of Heinecken’s activity can best be understood as an oppositional response thereto. […] I consider it a measure of a certain kind of stubborn integrity that Les Krims, Duane Michals, Kenneth Josephson, and Robert Heinecken continued to self-identify as photographers instead of jumping ship and reinventing themselves as picture-makers in one or another of the art world’s approved categories. They knew the dynamics and politics of the art scene, and understood the price they’d pay for their decision. Which made this an act of principle. […] |
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What Happened in Vegas (2)
What is striking about current work is its diversity of style and mood, its attention to the sensuous and tactile, and its insistence on encompassing not only a wide range of sexual behaviors but also a full spectrum of sexual moods. This collective accomplishment unquestionably denotes a raising of the bar for what David Steinberg calls “sexual photography” — an embrace of the true complexity of sex at the present-day intersection of sex and photography. […]