Photography out of Conceptual Art Why has photography moved from the margins to the center of contemporary art over the last 40 years?
Dec 17, 2015
Photography out ofConceptual Art
Why has photography moved from themargins to the center of contemporary
art over the last 40 years?
Joseph Kosuth, One and Three Chairs, 1965, wooden folding chair, photographic copy of a chair and photographic enlargement of a dictionary definition of a chair
Gilbert and George, The Singing Sculpture, 1970, photograph of performance(Gilbert Proesch, b.1943, Italy; George Passmore, b. 1942, England)
Gilbert & George with Ginkgo series,British pavilion Venice Biennale 2005
Bruce Nauman, Self-Portrait as a Fountain, from the series Photograph Suite, 1966-70, chromogenic color print
Denis Oppenheim, Reading Position for Second Degree Burn, 1970, Stage 1 and Stage 2, book, skin, solar energy, exposure time 5 hours, Jones Beach, New York, color
photography and collage, 216 x 152 cm
Ed Ruscha, The Old Trade School Building, 2005, synthetic polymer on canvas, 54 x 120 inches, from The Course of Empire Series, US Pavilion, Venice Biennale, 2005
(bottom) Blue Collar Trade School, 1992, Synthetic polymer on canvas, 54 x 120
Robert Smithson, “A Tour of the Monuments of Passaic, New Jersey,” 1967, from Artforum, vol.6, no.4, December 1967, pp. 48-51.
Christian Boltanski (French, b. 1944) Jewish School of Grosse Hamburgstrasse in Berlin in 1939, 1991, moving photographs, fans, florescent lamps, dimensions variable
Christian Boltanski, The Reserve of Dead Swiss, 1990 (two different installations)
We hate to see the dead, yet we love them, we appreciate them
Boltanski
Hans Haacke, detail of Shapolsky et al, Manhattan Real Estate Holdings, a Real Time System as of May 1, 1971, 1971, two enlarged photographs, 142 black and white photographs with typewritten data sheets, six charts and one explanatory panel
Martha Rosler, detail of The Bowery in Two Inadequate Descriptive Systems, 1974, 45 black and white photographs mounted on 24 mat-board panels, each panel 25 x 56 cm
Lorna Simpson (US, b.1960), Counting, 1991, photogravure with silkscreen, 73 3/4 x 38"
"I would hate to think that my work is perceived as a portrayal of victimization. I want to relate the dynamics of a situation, both how that situation occurs and how it affects people’s lives. In another sense, the work is not answer-oriented. It’s intentionally left open-ended.”
Simpson
Allan Sekula, detail of Aerospace Folktales, 1973, 51 black and white photographs in 23 frames, 56 x 72 cm each, three red canvas director’s chairs, three CD players and
speakers, three simultaneous unsynchronized audiotape recordings: duration 17 min, 21 min and 23 min, edition 1 of 2
Victor Burgin, Today is the Tomorrow You Were Promised Yesterday, 1976, from the eleven-part series UK76, gelatin silver print on aluminum, 102 x 152 cm
Cindy Sherman, Untitled #188, 1989, Chromogenic color print, 43 1/2 x 65 1/2“Hans Bellmer (German, 1902-1975) 'Poupee' in Hayloft, 1935-1936
Annette Messager (French, b. 1943) My Vows (Mes Voeux), 1988-91, gelatin-silver prints under glass, and string, dimensions variable
detail
Sherrie Levine (US b. 1947) Untitled (after Alexander Rodchenko: 9), 1987, gelatin silver print; (right) Rodchenko (1891-1956)
Jeff Wall (Canada, b. 1946) Installation view of the exhibition Documenta 8, Kassel, Germany, 1987, showing The Storyteller, 1986
Katasuhika HokusaiEjiri in Suruga Provincec.1831-3, from 36 Viewsof Fuji, 26 x 38 cm
Jeff Wall, A SuddenGust of Wind, 1993,229 x 377 cm
Allan Sekula (US. b. 1951), Detail, Inclinometer: Mid-Atlantic, 1993, from Fish Story, 1987-95, “Middle Passage,” chapter 3, plate 27
Fish Story was featured in Documenta 11, 2002
Sekula, Third Assistant Engineer Working on the Engine while Underway, 1993, from Fish Story, “Middle Passage,” chapter 3, plate 31