In the domain of art, each creation is unique, and knows little progress thereafter. Arising over time are all sorts of variations of the same themes, sometimes full-bodied, often quite bland. But the force existing at the beginning of the work is rarely maintained. Similarly, when this force is reapplied, the action produced in the artwork becomes automated and mechanized, so much so that the dulled senses fail to respond to the medium. The time is then ripe for a new invention. What we call the technique is inseparable from the art. And so we are wanting, and this is not a trivial matter, to do away with some ideas. Gutenberg, the inventor of movable type, printed by this means a handful of books, which still remain supreme as realisations of the art of book typography. The centuries which have succeeded him were not marked by any other major invention in this field of interest – until photography.
Robert Doisneau, Joseph-Philibert Girault de Prangey, Étienne-Jules Marey, Gustave Le Gray, Tazio Secchiaroli, Alfred Donné, Dimitri Baltermants, Peter Bock-Schroeder, Robert Capa, Henri Cartier-Bresson, Wright Morris, Harold Eugene "Doc" Edgerton, Clarence White, Roger Fenton, William Henry Fox Talbot, André Kertész, Otto Wegener, Henri Jean-Louis Le Secq, Herbert List, Louis-Jacques-Mandé Daguerre, Eugene Atget, John Collier, Ilse Bing, Philippe Halsman, William Eugene Smith, Paul Strand, Germaine Krull, Nadar, Auguste-Rosalie Bisson, Charles Marville, Dorothea Lange, Marcello Geppetti, Lewis Hine, Leon Gimpel, Pierre Molinier, Miroslav Tichý, Edward Jean Steichen, Karl Struss, Louis-Cyrus Macaire, George Ellery Hale, Israëlis Bidermanas and Walker Evans are amongst the photographers featured in the weekly Visual Independence Blog.
Anyone still asking that question should attend international art fairs, visit renowned galleries and auction houses, or even private residences of some foremost collectors
Photography’s presence within the art world has surged in recent years. The once distinctive line between photography and other art forms has blurred. Today’s photography art market seems to straddle two distinctive subsets – vintage/iconic pieces and current, contemporary creations.
There is a very real sense in which photography is actually the core of the contemporary art market. All sorts of ideas come directly from or through photography.
“There is a new generation of photographers that are creatively and intellectually pushing the envelope,” says Isabella Icoz, art advisor, nominator to the Prix Pictet and veteran art curator in Istanbul. “When I look at them, I don’t think of [their work] as photography but as art. I think it’s important to not look at labels.”
Photography is simply a medium of accepted art.