The risk is even greater if the above

Good disappears if it remains in the dark and evil is upgraded if it sees the light of day. In the field of art this perception can be freely supplemented or even replaced with its counterpart that a work of art is not born and its creator does not exist unless a theorist says it. We run the risk of this perception becoming so entrenched that we believe it two perceptions are combined. At the moment and this on the one hand is probably a happy fact the television media show no interest in art and even less in photography. Once they do it is quite certain that they will come across with the finesse quality and ethos that their interest in politics and the public has demonstrated.

In the meantime any mixing of publicity e-commerce photo editing in the artistic field seems to lead to corresponding treatment. It wasn’t many years ago that a New York bookstore refused to stock free books from our publications unless a review even a bad one was first published the bookseller explained. Without her the book was in danger of not existing. However in the field of art and photography in particular the danger of the absolute dominance of the theoreticians precedes the danger of the usual dominance of the mass media for the simple reason that they rely on them. It is an indirect artistic censorship that constitutes a distortion of the natural hierarchy according to which the creator comes first and the scholars of his work come next.


As for the special mention of the photographic space it seems necessary because all distortions always have an inflated presence and more damaging effects in this space for many reasons. The main ones are the range of applications of photography the complete ignorance of its history and its uniqueness ignorance that starts with the general public to touch its representatives as well the great fashion that accompanies its development but also the fact that most of its theorists know more and anyway not enough about painting and much much less about photography. In this context it is worth underlining as one example among thousands of others the reference of a French technical critic to the work of the widely cited.