Questions For Assignment 2 Reading Response

Questions for Assignment 2 Reading Response 1

Hi Everyone, Below are the questions for the Assignment 2 Reading that I'd like you to address in your response. The main thing I'd like you to take away is an understanding of a more 'formalized', or traditional approach to the photographic medium. As you'll read in the foreword, Szarkowski spent many years curating photographs for MOMA, and played a huge role in shaping the ways Photography was understood as 'art' during the mid to late 20th century. You will be expected to provide examples from the reading when necessary, and demonstrate an understanding of the material and an ability to apply it to your own personal experiences.

Paper For Above instruction

The evolution of photography from its inception to its current use on social media platforms exemplifies the transformation of the medium from a primarily artistic and documentary practice to a ubiquitous communication tool embedded in everyday life. Comparing the mid-20th century photographic movement, as championed by figures like John Szarkowski, with contemporary social media usage reveals both similarities and differences in purpose, presentation, and cultural significance.

Historical Growth of Photography and Social Media

Immediately following the invention of photography in the 19th century, images were primarily used for documentation, portraiture, and art, often appreciated within galleries and museums. Photography was seen as a medium requiring technical skill and artistic intent, often associated with high cultural status. Szarkowski’s influence, particularly through his work at MoMA, played a crucial role in establishing photography as a legitimate art form, emphasizing formal qualities and the artistic potential of photographs. He curated collections that underscored composition, subject matter, and the photographer’s vision, reinforcing the idea that photography could be both beautiful and intellectually engaging.

In contrast, social media platforms like Instagram democratize photography, enabling billions worldwide to produce and share images instantly. Unlike the curated, deliberate photographs displayed in galleries, Instagram content often emphasizes immediacy, authenticity, and social connection. The aesthetic quality varies widely, and the purpose ranges from personal expression to commercial promotion. The use of hashtags, filters, and algorithms shapes how images are perceived and prioritized, fostering a culture of rapid consumption and constant scrolling. While Szarkowski’s approach elevated photography as an art form rooted in formal qualities, social media’s approach often prioritizes engagement, emotional resonance, and virality over formal perfection.

'The Thing Itself' and its Implications

The concept of 'The Thing Itself,' as articulated in photographic theory, suggests that photographs are representations of reality, capturing the essence of an object or moment as it exists. Szarkowski emphasized the importance of the photograph’s ability to present the 'truth' of its subject, fostering a sense of objective reality. This idea influences both how photographs are made and interpreted, shaping expectations that images reflect an authentic, unaltered reality.

In the digital age, however, the perception of reality is increasingly mediated by images that may be manipulated, staged, or curated. When scrolling through feeds, viewers often encounter an idealized or filtered version of reality, challenging the notion of photographs as transparent windows into 'The Thing Itself.' The proliferation of editing tools and retouching software blurs the line between truth and artifice. Consequently, our impression of reality is influenced by these manipulated images, affecting how we perceive ourselves and others. Authenticity, once a cornerstone of photographic integrity, now exists alongside constructed images that serve various social, commercial, or personal narratives.

Reconsidering Szarkowski’s Definition of Photography

Szarkowski’s definition of photography as a fine art, often confined to galleries and museums, arguably limits the medium’s potential by excluding its broader cultural uses. His emphasis on formal qualities and artistic intent may overlook the democratic and participatory aspects of photography that have become dominant today through social media. If photography is confined to a narrow aesthetic or conceptual framework, it risks marginalizing the millions who engage with the medium for social connection, activism, documentation, and personal storytelling.

Today, the utility of photography extends beyond art galleries to everyday life, shaping social discourse and cultural identity. The limitation of Szarkowski’s traditional view suggests that photography’s transformative power lies not only in its aesthetic qualities but also in its capacity to foster community, challenge norms, and give voice to marginalized groups. Restricting photography to the realm of fine art may hinder recognition of its multifaceted role in fostering social change, expression, and collective memory in contemporary society.

In conclusion, while Szarkowski’s formalist approach elevated photography as an art form grounded in technical and aesthetic mastery, expanding our understanding beyond these confines reveals the medium’s vast potential. Recognizing the participatory, digital, and social aspects of modern photography underscores its significance as a tool for communication, identity formation, and cultural engagement in a rapidly evolving world.

References

• Berger, J. (1972). Ways of Seeing. Penguin Books.
• Szarkowski, J. (1973). Looking at Photographs. Museum of Modern Art.
• Hariman, R., & Lucaites, J. (2007). Uncivil Disobedience: Studies in Violent Protest. University of Illinois Press.
• Williamson, J. (2017). The Aesthetics of Digital Photography. Routledge.
• Rose, G. (2016). Visual Methodologies: An Introduction to Researching Visual Culture. Sage Publications.
• Chapman, J. (2015). Photography and the Art of Seeing. Pearson.
• Nevins, T. (2010). The Digital Camera Handbook. McGraw-Hill Education.
• Elkins, J. (2000). Pictures and Tears: A History of Popular Photography. Routledge.
• Grundberg, A. (2009). Photographic Truths. Aperture.
• Shields, R. (2012). The Function of Photographic Media. MIT Press.