Change

James Welling, IP30, 2001

On the other hand, it can’t be denied that there is at least a momentary flowering of interest in photographs that function as something other than rectilinear objects depicting subjects in illusory space. The current issue of Blindspot, for example, contains new work by Carter Mull, Michael Rashkow, Susan Silton, Ed Heckerman, and Miranda Lichtenstein, all of it worth seeing. And Aperture has an article on James Welling.


Susan Silton, On the Beach, 2007

Whether this presages some fundamental expansion of photographic practice is unclear. (Personally, I’m inclined to doubt it, but you never know.) Whether there is room in photography for such work is another question.