Photography is practiced and accepted in all forms: documentary, pictorial, magazines, reportage, fashion, pornography, erotica and landscapes, semi-amateur and professional installation, premeditated and built or spontaneous and live camera, made with the medium of traditional chemical and doctored or fabricated by the computer, printed by hand or with an industrial process, presented with the same solemnity of the painting hanging in a hurry or projected in, or give, or exploded in multiple vignettes larger in size monumental or emphatic.
For each subject these photographs also good: the self, body underwear celebrated, accepted, sick, maimed or disfigured, sex or sordid glory, architecture, cities, crowds, public places, the ' religious iconography, biography, the picture story, self-fiction, the document, society, etc.. etc..
In relation to the painting that took time and visual concentration, which put the contemplation in a lapse of time suspended, this photograph is lightweight, unobtrusive, lightweight, even when the sizes are huge, or sensational or shocking content. They are images on which it passes quickly, on which slides away and come to attention uncertain. To borrow a term invented by a painter at the beginning, Bill de Kooning: with it, content is a glimpse, the content is a flash, a fleeting vision, a vision of escape.
The photographs, therefore, have replaced the paintings on the walls. They dress in a contemporary medium, an academic and reassuring middle-class dynamic rushed accepts photos that can no longer see in painting.
The genius of Marcel Duchamp was introduced with the readymades, these items already made, finished or ready for use, production strategies that work on all the factors constituting the art (author, how to exhibit, the public, the object) to transform the line of a series of transactions and events anything, but justified in choosing a work that is also a non-work together. The practices detailed by Duchamp, reflect, deliberate to integrate the effects they cause, have effect as mischievous and provocative work to transform into a "no matter what", that is no longer an arrival no matter what and not later emerges that was not to be believed no matter what. Of these works only at the end of the procedures for establishing (and not only in production because there are only intellectual and conceptual aspects of this process delayed) makes them work. Marcel Duchamp's well put together since the year 1910 a purely procedural conception of art, in the sense in which philosophers speak of the theory of procedural justice of John Rawls or procedural conception of political communication Habermas. With Marcel Duchamp, art is more substantial but not procedural, but an essence does not depend on the procedures that define it. (Vittorio Losito blog)
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