Put most bluntly, for the past century most photography critics haven’t really liked photographs, or the experience of looking at them, at all. They approach photography—not specific photographs, or specific practitioners, or specific genres, but photography itself—with suspicion, mistrust, anger, and fear.
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It is precisely because photos are so confusing—such utter failures at providing answers—that they are so valuable: by refusing to tell us what to feel, and allowing us to feel things we don’t quite understand, they make us dig, and even think, a little deeper.
Read article at Boston Review
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