Photography's Discursive Space

Decent Essays
The definitional meaning in any form of art is dependent on the receiver, and their own perceptions. In Chapter Thirteen, Photography’s discursive space, contributed by Rosalind Krauss, analyzes perception of photography and the attempt to transform revelation from one perceptional context to another. For example, an illustration of a mountain may represent beauty to one observer, while another observer may identify the photograph as a geographical documentation. First, Krauss identifies two images, the Tufa Domes, and the Pyramid Lake. Both works of art have received multiple evaluations based on the perception of expertise of the viewer. Although, the intentions behind the photographs are mystified, viewer participate in applying definition to meaning, “they belong in two separate domains of culture, they assume different expectations in the user of the image, they convey two distinct kinds of knowledge” (Krauss, 1999).…show more content…
Researchers attempted to decode numerical codes they identified within the photograph. Although, the artwork was initiated from a day to day life. Although, the essay disputes this with, “Atget’s work is the function of catalogue that he had no hand in inventing and for which authorship is an irrelevant term” (Krauss, 1999). Krauss includes summaries from Foucault, defining the attempt to converse meaning into an archaeological examination. She then continues with, “it is not hard to conceive of what the inducements for doing so are, but it is more difficult to understand the tolerance for the kind of incoherence it produces” (Krauss, 1999). As stated before, art is subjectable to perceptive reconstruction. The viewer obtains the power to comprehend the photograph within their own expertise. A photograph of a rock could be observed by one as a rock, but to another person a scientific discovery. The subject of the photograph is the
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