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Lucies Underground, with Diamonds (2)

Most recently, the Lucies have taken to circulating an unsourced quote about themselves: “The Lucies are known as ‘the world’s most esteemed photography awards ceremony.'” Known thus by whom? This resembles nothing more than the posturing of the obnoxious new kid on the block, strutting around while proclaiming himself king of the hill ― the compulsive self-aggrandizing of the seriously insecure. […]

Lucies Underground, with Diamonds (1)

At some point in the Oughts I started to question the assumption that a “photography community” existed, at present or in the past. If it did, I should have found it possible to identify actions undertaken by that community as such, locales at which it gathered regularly for informal social interaction, and other indicators of the existence of genuine communal spirit and commitment. Sad fact was, I couldn’t come up with much. […]

Ends and Odds (Again)

The Republic Party goon squad, with the malevolent John Boehner and the smirking Ted Cruz as their pit bulls, lost me the opportunity to engage with a cluster of my colleagues in putting photography from 1980 through the present in perspective, and cost me a paying gig. That makes it personal. […]

The Photographer and the Painting (3)

By imitating paintings as freely and frequently as they do, and by tolerating and even endorsing such activity by their fellow practitioners, photographers undercut themselves and their colleagues who object to such infringements on the part of visual artists, abandoning any claim to the moral high ground. […]

The Photographer and the Painting (2)

What doesn’t get talked about during the periodic uproars over a painter’s appropriation of a photographer’s work are the numerous situations in which the shoe’s on the other foot. So photographers’ commonplace practice of basing photographs on works of graphic art, often in detail and faithful to the originals, is celebrated, not condemned, by the very same community that objects, vociferously, when painters and other graphic artists imitate or derive iconography from photographic images. What inexplicable double standard operates here? […]