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Posted on 08 March 2010.

It is no easy task trying to define contemporary photography. While postmodern photography is largely an Anglo-American invention, certain European manifestations, like the celebrated Dutch staged photography or the 1980s Rotterdam School, mirrored their Anglo-American counterparts. The same could be said for its critical apparatus, largely based on New York theory.

As a phenomenon, postmodern photography is inseparable from the market and, very particularly, from the new hegemony of photography from the 1980s onwards, which upped it into the position of dominance painting had held in the late modernist era.

This relationship defines the double face of the debate between the problem of representation in the photographic image, on one side, and its legitimacy as a form of high culture on the other. The epistemological question (multiplicity, loss of aura, lack of original, etc.), and the art question (recognition of photography in the fine arts system and its triumph over painting or, conversely, the collapse of fine arts as a result of the triumph of photography) are inextricably bound together.

At last, photography has moved to the heart of the fine arts, something readily confirmed by museums, critics and collectors. The 21st century is emerging as the millennium of visual arts, and MADRIDFOTO represents one of those special opportunities to enjoy the magnified virtues that only a lens is capable of capturing.

For all lovers of photography, MADRIDFOTO recommends the following blogs.

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