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

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.

4 World of art