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

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