![]() ![]() Very few are instantly recognisable now, and it is disconcerting how ordinary they look Respected galleries and academics have to lead buyers, not to mention viewers, through this new minefield. ![]() ![]() This may be because the photography market is booming, fraught though that may be with questions of what makes an authentic photograph (in modern terms, those authorised by the photographer or the estate). Now this separation is eroding substantially in both market and critical terms. Even so it has conventionally remained segregated: significant art galleries have been showing photography regularly but usually not together on the walls with painting (that is true of public museums and galleries, unless scholarly points are being made about connections and influences). Photography as a medium has been around since the 1840s, ubiquitous for much of the 20th century and now inescapable, but it is only in the last few decades that its aesthetic and commercial worth – both vintage and contemporary, analogue and digital – has soared ever upwards. The show is also making, if you like, a statement about the market. ![]()
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