Page 6 - The Documenta issue of World of Art magazine (2002)
P. 6

the GuGGenheiM MuSeuM

                                                                         stan douglas
                                                                         Nu•tk a•, 1996
                                                                         S I N G L E - C H A N N E L   C O L O R   V I D E O   P R O J E C T I O N   A N D
                      By the end of the 1970s, many artists turned       quADR APHONIC SOuNDTR ACK, 00:06:50
                        to photography as a vehicle through which        EDITION 1/2
                                                                         SITE-SPECIFIC DIMENSIONS
                      to critique photographic representation itself.
                                                                         SOLOMON R. GuGGENHEIM MuSEuM, NEW yORK
                     While this practice came to define much of the      PHOTO: ELLEN L ABENSKI
                      art of the 1980s, its legacy for the 1990s was
                   essentially the license to indulge in photographic

                        fantasy, image construction, and cinematic
                  narrative.  Artists working today freely manipulate
                     their representations of the empirical world or
                    invent entirely new cosmologies.  They process

                       their subject matter through predetermined
                      conceptual systems or use digital techniques
                     to alter their images.  Some directly intervene
                    in the environment, subtly shifting components

                     of the found world and establishing their quiet
                  presence in it; others fabricate entire architectural
                               environments for the camera lens.

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