Crimpan studied the history of photography, its institutionalization and its reference in the post-modernism era. In this case, Crimpan indicates that the introduction of photography in the museum set precedence of the artistic form and appreciation of photography as an art. In this case, following the discovery made by Julia Van Haaften of the reorganization of photographic pieces found in books, the value of photography as both an art and aesthetic has been introduced.
According to Crimpan, the replacement of structural wording and library reorganization of photographic pieces have warranted the inclusion of another artistic dimension associated with photography as not only a medium of information, but as art itself. In this regard, Crimpan indicates that the index change in museums has led to the creation of departments that have appreciated the value of photographers who are now acknowledged to be artists. For instance, the previous works that were indexed as Egypt in the Library catalogue are now identified as Beato in the newly formed Arts, Prints, and Photographs at the New York Public Library (Wells 424).
The association of photography as either a modernism or postmodernism concept is explored by Crimpan. In this regard, Crimpan indicates that the Szarkowski’s definition of photography being modernist is premised on the identification of the medium to warrant this relationship in the context explained by Clement Greenberg as an art form whose essential qualities can allow its distinction. From a postmodernism point of view, Crimpan argues that this period is associated with artistic freedom, counterrevolution, and pluralism.
Following the redistribution of knowledge in which case has allowed photography to transcend documentation barriers and its recognition as art which can be seen lays the context of postmodernism. This concept is in agreement with the notion that photography is a perversion of modernism, an aspect that has been supported by the organization of photography in museums and art departments as in the case of New York Public Library.
Work Cited
Wells, Liz. The Photography Reader. London: Routledge, 2003. Print.
