Quote Originally Posted by Michael R 1974 View Post
I'm a little slow so I'm having trouble figuring out what you're trying to get at. Are you saying Shore's work is mediocre and we need more expressive photography? And it's the curators etc who are largely at fault?
I find his work interesting, but I was only using him to clarify my idea of where I think the 'documentary aesthetic' originated, which is very prevalent in contemporary work. Have a look at anything in the British Journal of Photography - the only real magazine we have on contemporary practice over here and how most keep up to date. I believe this kind of photography to be a direct response to the critic, rather than a natural progression of the medium. More an intellectual defensive, rather than a continuation of creative exploration with light sensitive materials. Personally, I don't think the photograph is the best format for a thesis.

I wonder if Minor White's statement means anything to this wave of photographers '...an unexposed piece of film [sensor], static and seemingly inert yet pregnant with possibilities.' Because I believe for anyone who enjoys making photographs, in spite of the statements they want to make, this pretty much sums up the basic love of the medium. It's something they would do well to remember, because people only pick up a camera with joy, yet most of the work I see is devoid of it, in favour of an imposed intellectual position. Somewhere along the line the photographers became the critics and the curators became the artists.

If you look at popular music you'll see that producers and DJs are the new singer-songwriters, the artists. It's not a problem confined to photography, but more, in today's culture, that taste equates art. The increasing masses of work produced seems to be simply raw material for the curator's game.