"The idea of art and politics co-existing is no more or less deeply problematic than the idea of them being separate. But nobody said it was going to be a
‘linoleum buckles on counter tops, and unseasoned lumber twists walls out of plumb before the first occupants arrive.’
"These photographs are clearly fixed facts of the real world impartially recorded by the camera, but they are something more as well."
Eggleston brought MoMA around eight carousels of slides made around 1970 from which Szarkowski chose seventy-five for the exhibition and, of those, forty-eight for publication in the Guide.
I saw it I suppose very shortly after it was published, when I was still working as a photographer myself, and it was, frankly, shocking. I sensed the power in
By John Szarkowski, originally published in Dot Zero, Spring 1967 The basic effect of modern mass media on photography has been to erode the creative independence and the accountability of
Friedlander’s work provides some of the first and best examples of what has become a widespread approach to photography. It was part of the general reorientation of the sixties within
She was not a theorist but an artist. Her concern was not to buttress philosophical questions but to make pictures. By John Szarkowski, Director, Department of Photography, NY MoMA Diane
“I always thought of photography as a naughty thing to do, that was one of my favourite things about it, and when I first did it, I felt very perverse.”
“Photography is a system of picture making in which subject and form are identical and indistinguishable, in which the subject and the picture are beyond argument the same thing.” Evening Lecture I
Haverstraw, New York, 1966 Friedlander is a photographer, never forget. Although a major photographic artist, he is not an ‘artist utilising photography.’ He uses the camera, that unthinking machine, to
For nearly thirty years, from 1962 to 1991, John Szarkowski served as Director of the Department of Photography at the Museum of Modern Art in New York. As organizer of