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Choice of Audience/Choice of Voice, 2 (1980)

The crucial question is, To whom is my work addressed? To put it another way, who do you think you’re talking to? By this I mean quite specifically what audience do you as a critic desire and direct your work towards conceptually? […]

Choice of Audience/Choice of Voice, 1 (1980)

The four key elements of the critical equation are (1) the work, (2) the critic, (3) the vehicle or forum, and (4) the audience. Each of these represents a wide range of options; furthermore, each individual case is in a state of continual change. […]

Photography Criticism: A State-of-the-Craft Report (1979)

What we need, it seems to me, is a group of critics less interested in equating themselves with photographers or aligning themselves with curators, gallery owners, and other critics, and more actively committed to functioning as articulate intermediaries between the work of photographers and the largest potential audience for that work. […]

A. D. Coleman on Photo Books, 1978 (c)

What do these images need? What does this book need? If I brought this out and people could buy it for five dollars, might I not sell eight thousand copies more, or two thousand copies more than I’m going to sell if I bring it out priced at fourteen dollars? […]

Guest Post 25: Harris Fogel on the Minor White Debate

What Coleman did for us, and certainly for myself as a future photo educator and curator, was to instruct us by example never to ignore the forces that propel the visibility and inclusion of certain photographers over others. […]