Abstract
The present article analyzed the incorporation of photography as a full member in contemporary art, from the perspective that places it in the documentary aspect and extremely banalized of the concept art territories. To do this, photography is firstly addressed in its realignment with the everyday and the anodyne of authors like Ed Ruscha who immerse photography in a new discursive dimension never before raised. Then, the artistic discourse of L. Sultan and M. Mandel is analyzed, where, through an aesthetic of estrangement, they achieve to situate photography in the focus of the documentary aspect of concept art. To get to the point of how, from the strategies of amateurism, the photo reach to force the gaze from its own forms of appearance, in a new image far from the documentary and definitively settled in the artistics territories.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callMore From: Fotocinema. Revista científica de cine y fotografía
Disclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
