# George Baker (2005). *Photography's Expanded Field*. : . > [!INFO] > Type:: [[&]] > Title:: Photography's Expanded Field > Author(s): [[Authors/George Baker]] > Year:: 2005 > Tags:: > DOI:: > Citekey:: baker_photographys_2005 > ZoteroURI:: [Open in Zotero: Photography's Expanded Field](zotero://select/items/@baker_photographys_2005) > ReviewedDate:: [[2023-02-21]] ## Citation ```latex [@baker_photographys_2005] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@baker_photographys_2005]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation p. 2905 Everywhere one looks today in the world of contemporary art, the photographic object seems to be an object in crisis, or at least in severe transformation. p. 2914 what Rosalind Krauss has recently called a “theoretical object”: the submission of artistic objects to photography’s logic of the copy, its recalcitrance to normative conceptions of authorship and style, its embeddedness within mass cultural formations, its stubborn referentiality and consequent puncturing of aesthetic autonomy (Krauss 2003a). - [!] 처음엔 사진의 복사에 대한 반대에서 스타일과 authorship에 대한 반항심에서 복사가 만들어내는 매스 컬처? formation에 대해서 되찾고자 했던 포스트 모더니즘. 그후로 디지털로의 이행에 대해 사진적 오브젝트로의 이론화, 이후에 포토적 이라기 보단 이젠 시네마틱으로 옮겨가고 있다. P2923 but rather that photography itself has been foreclosed, cashiered, abandoned—outmoded technologically and displaced aesthetically. ### Related ```dataview LIST FROM [[@baker_photographys_2005]] and -"Plans" and -"resources" ```