What you bump into when you stand back from a photograph

Steichen

In the historical process by which scupture is no longer a thing you have made somewhere else, but is instead a gesture you make before the camera, a curious upstairs-downstairs, gentlemen and players game of class is enacted – a coda to the paragone debates (Leonardo versus Michelangelo) of the high renaissance. Now that the sculptor no longer “gets dirty” – from sculpture that is; he or she gets more than dirty, as Dine and Kusama and Gilbert and George and Cindy Sherman all demonstrate, in their performances – the dematerialization of the art object elevates the sculptor to a higher class, the class of thinking (rather than making) artist, to be rewarded with attributed authorship of works (photographs) they didn’t make. And to earn that honor they had to stop making works in their own medium. Everything started so amicably in this show, with albumen virtually caressing marble, that the divorce half way through of photography and sculpture, with no joint custody, is all the more brutal. Dropped from the narrative are non-celebrity photographers who actually enriched their medium at the service of sculpture: I’m thinking of John Riddy’s work for Anthony Caro for instance or Aurelio Amendola’s on Michelangelo. (Incidentally, why are there no Henry Moore photographs of Henry Moore?)

more from David Cohen at artcritical here.

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