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Contemporary art photography, or, more specifically, what I would term mainstream art photography, represents for the most part the mining of an exhausted lode.

Abigail Solomon Godeau

The thing itself is never just out there in the world waiting to be framed by the photographer’s Leica; rather, it is something dynamically produced in the act of representation and reception and already subject to the grids of meaning imposed on it by culture, history, language, and so forth.
ABIGAIL SOLOMON GODEAU

Culture Frame Photographer Waiting World
… photography, like all camera-made images such as film and video, effaces the marks of its making (and maker) at the click of a shutter. A photograph appears to be self-generated – as though it had created itself.
ABIGAIL SOLOMON GODEAU

Camera Efface Film Making Mark Photography Self Video
In the final analysis, photography… is ever a hireling, ever the hired gun.
ABIGAIL SOLOMON GODEAU

Analysis Final Gun Hired Hireling Photography
Contemporary art photography, or, more specifically, what I would term mainstream art photography, represents for the most part the mining of an exhausted lode.
ABIGAIL SOLOMON GODEAU

Art Contemporary Exhausted Mainstream Photography Ter
While the aesthetics of consumption (photographic or otherwise) requires a heroicized myth of the artist, the exemplary practice of the player-off codes requires only an operator, a producer, a scriptor, or a pasticheur.
ABIGAIL SOLOMON GODEAU

Aesthetic Artist Myth Player Practice Require
As Plato insisted two thousand years ago, it is not by means of the image that moral, ethical, or political knowledge is produced.
ABIGAIL SOLOMON GODEAU

Ethical Mean Moral Plato Political Thousand Year

Contemporary art photography, or, more specifically, what I would term mainstream art photography, represents for the most part the mining of an exhausted lode.

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Contemporary art photography, or, more specifically, what I would term mainstream art photography, represents for the most part the mining of an exhausted lode.

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