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Summer’s End Ends and Odds

I would not anticipate a slew of copyright cases filed on behalf of squirrels and others who trigger GoPro videos; furthermore, you have my assurance that, no matter how deeply you involve them in your picture-making activities, your cats and dogs and budgies plan nothing that will require you to lawyer up. […]

Ends and Odds Again and Again

Given that the Museum of Modern Art has studiously ignored me and my critique of its policies and practices for most of the past half-century, I’ve found it both surprising and charming to have my name and work crop up in two separate MoMA projects over the past year. […]

New Documents, Revisited (b)

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. […]

New Documents, Revisited (a)

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. […]

Time Capsule 1972: Collier’s Encyclopedia Yearbook

Conceptual art, happenings, and the snapshot aesthetic met again this year, often with better results than expected. Bernadette Mayer, a New York poet, shot an entire 36-exposure roll of color film every day for a month, had them printed by a drugstore processing concession, and mounted “Memory,” a show which included all 1,116 images in sequence, accompanied by a taped monologue which used the photos as a jumping-off place. […]