A Photograph as Evidence of Itself
Representation, Reflexivity, and Tautology in Light-Based Art
Bibliographic Data
| ID | 4188720 |
|---|---|
| Authors | David Larocca (0000-0001-5863-9833, corresponding author) |
| Year | 2022 |
| Volume | 89 |
| Issue | 4 |
| Pages | 915-945 |
| Publication date | 2022-12-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Social research (JOURNAL) |
| Journal identifiers | ISSN: 0037-783X • E-ISSN: 1944-768X |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/sor.2022.0060 |
| OpenAlex | W4317702901 |
| Language | EN |
What habit of perception—of description—gives human viewers of photographs the confidence to regard them as evidence? In this comparative study of work by John Opera (b. 1975) and Jill Freedman (1939–2019), light-based art is subject to an analytic pressure that may undermine epistemic claims about what it is photographs can be said to contain. What constitutes a photograph in nonhuman terms is different from what we say, or want to say, it represents. Physics, philosophy, and the history of photography intersect at the point where we leap from image to meaning
Aesthetics · Art · Epistemology · Freedman · Meaning (existential) · Perception · Photography · Reflexivity · Representation (politics) · Sociology · Subject (documents) · Visual arts · Computer Science · Geographies of human-animal interactions · History · Philosophy · Photography and Visual Culture · Visual Culture and Art Theory
| Highly cited | No |
|---|