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         Chapter Seven in The Photograph as Contemporary Art, by Charlotte Cotton, addresses the post-modern approach to photography, which focuses on the medium as understood through cultural context. As opposed to Modern photography, Post-modern photography is less strict in its ideals. In its time, Modernism emphasized a canon of so-called master photographers whose works contained unique and original qualities. Postmodernism on the other hand focuses on recontextualizing pre-existing images that are drawn from a variety of sources. The idea is that when re-grouped or reinterpreted, these photos take on new meanings and become more potent.  However, some of the works shown in this chapter fail to  successfully convey their “profound” or dynamic idea. 

        Photographs are seen as, “...signs  that acquired their significance or value from their place within the larger system of social and cultural coding.”(p.191) Generally speaking, these types of images rely on what we know by memory, i.e. advertisements, family photos paintings, films, fine art photos etc. This type of re-imagery provokes us to question what we see and how our over-exposure to these images effects our understanding of ourselves and the world. Parallel to the genre's photographs that appear one-dimensional on the exterior but are embedded with ideas, postmodernism is simultaneously complex and simple. Some photographs have very strong ideas but lack visual dynamism. I will break down the artists reviewed in this chapter into three categories, emulators, alternative practitioners and collectors. 

           The first artist explored in chapter seven is the legendary Cindy Sherman. Sherman began her photographic career with the “Untitled Film Stills” project in which she herself poses in fabricated scenes that evoke 1950's black-and-white films. Through impersonating a classic female stereotype, Sherman questions the idea of femininty as a culturally created phenomenon that is not inherent but performed. By being her own model, Sherman explores her own identity as well as that of the universal female.

          The following artists covered in this chapter enact a similar process as Sherman of dressing up as a character and staging a fictional scenario. Most remarkably, Yasumasa Morimura is a Japanese artist who photographs himself dressed as famous artists or actresses. His work focuses mostly on the malleable ego of the photographer and his adoration and worship of the famed.

           Both Nikki S. Lee and Trish Morrissey employ a similar kind of dress up/acting photography. In Lee's reality show-esque study of different sub-cultures and ethnic groups, she adopts a varying way of dress and attitude. As Diane Arbus did at Nudist colonies, Lee introduces herself to the group as an artist and then spends several weeks hanging around them and taking casual snapshots. These photos have an dually constructed/natural quality to them. Looking through Lee's photos, I am convinced of a somewhat effortless assimilation into the given group. Besides being a personal endeavor or exploration, Lee's work draws upon modern day immigrants in america and their efforts or rejection of forming a new identity within the culture. 

          In the same vein as tableau photography, in Trish Morrissey's Seven Years project she preforms scenarios appropriated from old family photographs. In these recreations Morrissey attempts to remember and reconstruct collective familial memories and relationships. Another artist, Gillian Wearing has a different and almost creepy interpretation of the re-staging family photographs. Gillian literally poses as her family members by wearing prosthetic masks of their faces. The result is an eerie emulation and response to familial identity.
          The next noteworthy artist reviewed in this chapter is Collier Schorr, who works primarily with gender stereotypes. Schorr looks at the representation of youthful masculinity in relation to historical artworks. As seen in her piece Jens F, Schorr found commonality in painter Andrew Wyeth's fascination of the young female body with her own interest in transforming body of a young man. Nevertheless, Schorrs aim is not to mimic Wyeth but to open up a dialogue about the relationship between artist and model.

          The following artists emulate history in  a fantastical manner. For example, Walid Ra'ad and the Atlas  Group made a series of fictionalized mix media works to convey the human-rights abuses and role of the media in the Lebanese war. Whether the material is real or contrived isn't obvious immediately to the viewer. What is clear however is the ability of this particular archive material to evoke an emotional response and understanding of the countries social unrest. 

          Along the same historical paradigm, Tracy Moffat's odd period piece photographs invoke a fantastical narrative of the Victorian era. The grainy, dark quality of the prints adds to the works overall element of mystery. Moffats work deals with colonialism, class, sexuality and addiction. As a result, her work is a potent example of the way in which  socio-historical issues can be addressed through art. 

          The following works described in this chapter use traditional photographic techniques as a way of “...returning to early photography's alchemical magic in its tracings of living things”(p.206) Most significantly in this renewal and experimentation are artists Susan Derges and Adam Fuss. In her river project Derges uses a photogram to capture the movement of a river. Her process consists of laying photographic paper contained in a metal box beneath the surface of a river and exposing it with a flash that is positioned above overhanging branches. The result is a very unique and emotive representation of flowing water. Fuss uses objects as well as himself to make abstract photograms. According to Cotton, he is one of few contemporary artists who has successfully revived the daguerrotype. 

       In the next few pages we learn about artists who collect and appropriate pre-existing images. By recontextualizing them they take on new meanings. Pivotally, John Divolas compilation of test photos of 1930's film sets, “offer[s] a meditation on the historical fictions of domestic or normal life that cinema has created.”(208) Individually, these photos may not have much meaning but as a whole the piece becomes both dramatic and poignant. 

       The same reworking of imagery applies to the photographs of Richard Prince. Richard Prince photographs billboards and in doing so puts into question the “seduction of advertising”. Moreover, the compilation of found, stock images and advertisement put in a different context gives them new meaning.  Similarly, as Seen in Nadir Nadirov and Susan Meiselas work, regrouped archives explore international relations and are a catalyst for remembrance.  

       Although I myself am skeptical of  considering found photographs in the realm of fine art, Ducamps “found objects”, most nobly Fountain, is considered a contemporary masterpiece. In fact, the modern art world has an overarching willingness to regard alternative or unorthodox practices as fine art. With this in mind, Joachim Schmids compilation of found discarded photos become more valid as a powerful artwork. It is not in his creation of new image, but his collection of the rejected and discarded that gives his project relevancy. Complied, these abandoned photos represent the loss and rejection of personal memories. They are evidence, “re-engagement with forgotten histories” an a projection of the viewers fantasy. 

         The last few pieces explored in the chapter are highly conceptual, but fall short in conveying their idea. The book describes this as “portraying a subject through a pre-existing style of a photographic genre”(215). As a viewer, I struggle to separate the two styles, since they are overwhelming similar. Any sort of irony becomes lost in a preconceived understanding/knowledge.

Tobjørn Røland attempts to critique the cliché landscape photograph, but fails to present this “critique” convincingly. He is supposedly conscious of the irony in photography's desire to mimic classical landscape paintings. However, a viewer most likely takes the work for face value and wouldn't perceive the subtle mockery. The same applies to Katy Grannan, who photographs strangers/models in their chosen location. However her 70's magazine style photos look just like pages in a Free People or Urban Outfitters catalog, and in such I am highly unmoved by her work. 

          An artist which I think could have been included in this chapter is Cuban photographer Ciranceica Moriera. Moreiera uses herself as the model in her created scenarios. Due to her background in dance, her work is a clear encounter of fine and performing arts. Morieras photographs are enigmatic and often allude to history. Critic Marlene Barrios aptly explains,  Marlene Barrios wrote about this series, “Few artists manage to represent themselves in their works as she does. Cirenaica shows her inner self unlike many others, in a subtle way, in time and image particles; she capsulizes part of her own life in her environments. builds real scenographic sets: poses, scenarios, lights and shadows.” 

          Another artist who explores identity through constructed scenes is Laurie Simmons. Simmons stages sets for her camera with dolls, dummies and random objects to create, "images with intensely psychological subtexts". Simmons focuses on the impact of media on our perception of reality. Simmons initially utilized color photography because of its association to advertising, fashion and film, linking her work to a realm of fantasy. 

           Tina Barney is a photographer from New York City who is best known for her large-scale documentary photographs of her family and friends. Barney acts as a director, orchestrating a scene based on reality. Barney uses a large format camera, manipulated light and posed subjects. However, the end result is highly candid and intimate. Barney could be included in this chapter because of her use of theatrical staging and probing into a specific culture, similar to Cindy Sherman and Nikki S. Lee. I also find Barney's photographs very dynamic and strong in her choice of color palette.