I think now that, in general—and this includes a lot of what I see in Chelsea even more than what I see from students at Yale—there’s a failure to understand how much richer in surprise and creative possibility the world is for photographers in comparison to their imagination. This is an understanding that an earlier generation of students, and photographers, accepted as a first principle. Now ideas are paramount, and the computer and Photoshop are seen as the engines to stage and digitally coax those ideas into a physical form—typically a very large form. This process is synthetic, and the results, for me, are often emotionally synthetic too. Sure, things have to change, but photography-as-illustration, even sublime illustration, seems to me an uninteresting direction for the medium to be tracking now, particularly at such a difficult time in the general American culture.
November 2, 2006
Whether or not Tod Papageorge is an underrated photographer, there is no doubting that he is an articulate one. This quote from the Bomb interview seems relevant to the discussion that has emerged from the After Arbus article: