Since being impressive to a non-knowledgeable audience is a natural consequence of her choice of style, tone, stance, and pace, one can presume that to be Sontag’s intent. Similarly, since to anyone with a background in photography Sontag’s grasp of the medium’s morphology is (to be charitable) shaky, and her ideas almost entirely received, one can equally presume that — except as an aggressive act — the book is not meant to be taken seriously by an audience versed in photography, visual art, or visual communication. […]
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Over the years, Paul collaborated with me to help make numerous photographs — some of my favorites … He enjoyed modeling. We had a 50-year-long conversation about photography’s evolution, craft, and odd politics. Neither of us had formally studied photography. We taught each other. […] That a capitalistic impulse is at the core of this object-fetishism should by now be clear. Photo-Realism is emblematic of the jealously-guarded power of “serious artists” to convert a financially valueless image into a financially valuable object. […] [Toward the tail end of my decade as the photography critic for the New York Observer I had the opportunity to review the Museum of Modern Art’s celebration of Cindy Sherman’s “Untitled Film Stills” series, a complete set of which they had recently acquired and were showing for the first time, in an exhibition sponsored […] |
 SPJ Research Award 2014 |
Alternate History: Robert Capa on D-Day (36)
(UPDATE) Picture editor John G. Morris, for decades the most energetic public promulgator of the myth surrounding Robert Capa’s D-Day photography, died on July 28, 2017 while hospitalized in Paris. Born in 1916, he was 100 years old. […]