“The broader art world has no problems with the work of Jeff Wall, or Cindy Sherman or James Casebere or Thomas Demand partly because the creative process in the work is clear and plain to see, and it can be easily articulated and understood what the artist did … The dealer can explain this to the client, the curator to the public, the art writer to their readers, etc. The problem is that whilst you can discuss what Jeff Wall did in an elaborately staged street tableaux, how do you explain what Garry Winogrand did on a real New York street when he ‘just’ took the picture? Or for that matter what Stephen Shore created with his deadpan image of a crossroads in El Paso? Anyone with an ounce of sensitivity knows they did something there, and something utterly remarkable at that, but… what? How do we articulate this uniquely photographic creative act, and express what it amounts to in terms such that the art world, highly attuned to synthetic creation – the making of something by the artist – can appreciate serious photography that engages with the world as it is?”

THEORY: “Paul Graham – The Unreasonable Apple” (2010)

(via Ms. Jen Bekman)