Work which demands a spectator for it to work; a kind of performance art. The impression I got is of work being made in which the message rather than the medium is important. Hence, photography becomes a vehicle for something else. In postmodernist art this is not usually noticeable, it is the concept that matters rather than the way that concept has been communicated.

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It is not laborious to read his text. In the displacement of traditional aura in contemporary performance art and sculpture an area of declared interest of mine.

The role of the museum. Benjamin included photography, albeit selectively in having an aura. What he says depreciates the aura is the overuse of mechanical reproduction. Conversely my question here is; If an individuals first encounter with a work is due to mechanical reproduction, is that a bad thing?

Perhaps here Crimp inadvertently brings my interest in constructivism and minimal sculpture together. While the constructivists were from the modernist era, the process that underlines their work is based on experimentation.

A kinaesthetic exercise. The process was paramount to the artist and I wonder if my curiosity to this period is due to a lack of acknowledgment of the development of craft in postmodern work. It is a physical act. Together with visual interaction, kinaesthetic activity is how I learn. Finally it makes me consider the way people receive information.

I have been both engaged and bored attending exhibitions or reading artist statements. The displacement of artwork to a white cube is just as important a consideration as its reproducibility.

There is more to say about the role of museums, but for now I want to limit the relevance of Crimp on how it relates to my practice.


Review of β€˜The Photographic Activity of Postmodernism (1993), Douglas Crimp

For this reason I have felt uncomfortable in relying fully on my translation and have, therefore, read wider to better understand the concept of postmodernism as related to photography. The key words here seem to be representation and appropriation. This first photograph below is based of my Project: Lost. I took this photograph because it is where, as a child, I bought a fishing net to take with me to the local park; and the bushes are also places where we used to play.



Crimp starts off by identifying three kinds of presence β€” the presence where the observer is undeniably there like in performance art, the presence where there is an absence seeming like a presence and the type of presence where there is a presence and an absence. This third type of presence is evident in photographic works. Where the photograph is a reproduction of a work of art or even another photograph, this is the kind of presence Crimp attributes to postmodernism. Here, when the photographic reproduction copies the work of art, the photograph is present β€” it was an indexical relationship between the photograph and the thing it copied. At the same time I learnt the aura of the work of art is diminished when it is reproduced β€” especially if it is of high value and is copied prolifically. Since painting was effected greatly by photographic copies, painting tried to distance itself from photography in the form of expressionist painting.

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