Douglas Crimp starts by explaining that postmodernism, “…constitutes precisely the return of the repressed.” He continues by saying that it is also follows modernism with institutions that shape modernism which are the museum, art history, and photography. These foundations that he claims to support modernism can clearly be argued against by any individual. I would have to say that after pondering it for a bit these institutions seem fit for the course of modernism in the sense that they are all great representations of art and follow the direction in which art is able to transform (i.e. modernism).
Crimp also describes the condition of presence as a mark of representation. What I perceived the author meant by the word presence is that occurrence of not just something, an object or person, being in front of us as a present figure; it has to do with the notion of that something carrying presence. It also seems like we just can’t seem to get away from the logic of Walter Benjamin. Crimp focuses on the aura spoken of by Benjamin and how it is only available in a limited number of photos, not all have an aura. This I disagree with, because in every photo one is able to find a majestic underlining that creates an aura and makes a photo appear the way it does to a viewer.
This essay overall was easy to get through, but I would say a bit tough to comprehend and receive actual meanings from. The facts and opinions given by Douglas Crimp needed breaking down within the sentences in order to understand the entirety of the message. The text was a little dense but nothing that left the reader confused. I also think the small section on Sherrie Levine and Cindy Sherman was a great way to introduce our next reading and preface us on topics to come.
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