'Images have an advanced religion: they bury history'.  So says Alfredo Jaar in the introduction to his exhibition Real Pictures discussed in Chapter 3. An installation view of the exhibit is available online at the Museum of Photography, Chicago http://www.gallery-guide.com/museum/mcpchcgo/index.htm#med0003
 

Simon Bigg's 'Great Wall of China', an online version of the CD-ROM version, one of the semantic engines described in Chapter 5. See also the outtakes for a longer discussion of Simon's work
http://www.easynet.co.uk/simonbiggs/wall.htm

There is some discussion of the catalogue and its relation to photography, which refers to the work of some remarkable photographers, among them Lewis Hine

http://www.multimedialibrary.com/FramesML/IM12/IM12.html
whose work is featured in the extremely useful Multimedia Library, a major online resource.

In the same section, there is discussion of the use of the catalogue in the career of the great Parisian photographer Eugène Atget,

whose work can be sampled in detail at the Bibliothèque Nationale Français
 
 Hubble Space Telescope overview, linked to some of the most extraordinary digital images ever produced. They raise immense questions for theories of representation and realism in the digital media.
http://oposite.stsci.edu/pubinfo/HSToverview.html
 
These discussions also involve an analysis of the commodity form, in which the art of Vija Celmins

is a singificant statement. This illustration comes from the exhibition Trompe l'oeuil  at the Sheldon Memorial Art Gallery Vija Celmins page
http://sheldon.unl.edu/test/pages/Artists/Celmins/Celmins.html

IRETURN TO HOME PAGEIGO TO APHORISMSICHECK HOTLINKSI OUTTAKES MENU I