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John Pfahl’s innovative work in landscape photography focused on the problems of perception and representation. He systematically questioned the medium. His early and probably best-known series, “Altered Landscapes,” is a perfect example of his constant quest. […]
What we’re offered instead is merely a set of pictures John Szarkowski likes — a comparative bagatelle … Such a misuse of power, prestige and influence is an effective if lamentable indication of why the Modern’s credibility and influence on the medium have waned so dramatically during the last decade of his tenure. […]
It is little short of scandalous that the Museum of Modern Art has never given a one-man show to a non-white photographer, for there are many at least as talented as some of those photographers the museum has chosen to show over the years. […]
The difference between a graphic artist such as Robert Rauschenberg, who incorporates photographic images in his work, and a photographer such as Scott Hyde, who employs silk-screen techniques in producing his final picture, is one that I do not care to define. […]
Szarkowski’s patronage practices tread ever closer to cronyism, in effect if not by intent. His esthetic, insufficient to the medium’s current stage of evolution, verges on stagnation. His tenure at MoMA, which has been distinguished in many ways, now runs the risk of ending in increasingly acrimonious confrontation with practitioners of that very medium to which he has committed so much of his life. […]
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SPJ Research Award 2014
Thought for the Day Ignorance is a condition; dumbness is a commitment.
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