Page 5 - The Documenta issue of World of Art magazine (2002)
P. 5

this exhibition is sponsored
                         by Delta airlines.

                 During the late 1960s and the
                 1970s, a significant paradigm
                 shift occurred within postwar

                   visual culture: photography
                  and the moving image were
                  absorbed into contemporary
                art practices.  Artists turned to

                 these mediums—which brid-
                 ged such discrete categories
                 as mass culture and high art,
              technology and culture—in order

                to contest the preciousness of
                  the unique art object and to
                challenge traditional aesthetic
              categories.  Additionally, the new,

                  portable technology of video
               and its unique ability to employ
               instant playback allowed artists
                to examine issues of represen-

                tation and image making to an
                 unprecedented degree.  Film
               as installation further expanded
                the conceptual and aesthetic parameters of the

                 moving image. The use of photography and the
              moving image enabled artists to create works that
                privileged information or documentary evidence
                 over personal expression, or conversely, called             anna gaskell

              into question notions of objective recorded reality,           uNTITLED #5 ( WONDER), 1996
                                                                             C-PRINT, A.P. 2/2
                underscoring the dominance of mass media and                 48 1/16 x 40 1/4 INCHES (122.1 x 102.2 CM )
              its skewed representations.  Artists also employed             SOLOMON R. GuGGENHEIM MuSEuM, NEW yORK
                                                                             PHOTO: ELLEN L ABENSKI
               new photographic strategies to record ephemeral
               or performative events, and to render visible con-
                ceptual systems. For many early feminist artists,
                 these mediums represented yet-to-be-claimed
               territory, offering them new means with which to

                                   render experiential work.

                                                                                                     World of art       3
   1   2   3   4   5   6   7   8   9   10