Photography out of Conceptual Art Why has photography

Photography out of Conceptual Art Why has photography moved from the margins to the center of contemporary art over the last 40 years?

Installation view of the “Information” exhibition, Mo. MA, New York, 1970

Joseph Kosuth, One and Three Chairs, 1965, wooden folding chair, photographic copy of a chair and photographic enlargement of a dictionary definition of a chair

Gilbert and George, The Singing Sculpture, 1970, photograph of performance (Gilbert Proesch, b. 1943, Italy; George Passmore, b. 1942, England) Gilbert & George with Ginkgo series, British pavilion Venice Biennale 2005

Bruce Nauman, Self-Portrait as a Fountain, from the series Photograph Suite, 1966 -70, chromogenic color print

Denis Oppenheim, Reading Position for Second Degree Burn, 1970, Stage 1 and Stage 2, book, skin, solar energy, exposure time 5 hours, Jones Beach, New York, color photography and collage, 216 x 152 cm

Ed Ruscha, Flying A, Kingman, Arizona, from Twentysix Gasoline Stations, 1963, photographic book

Ed Ruscha, The Old Trade School Building, 2005, synthetic polymer on canvas, 54 x 120 inches, from The Course of Empire Series, US Pavilion, Venice Biennale, 2005 (bottom) Blue Collar Trade School, 1992, Synthetic polymer on canvas, 54 x 120

Robert Smithson, “A Tour of the Monuments of Passaic, New Jersey, ” 1967, from Artforum, vol. 6, no. 4, December 1967, pp. 48 -51.

Anselm Kiefer, Heroic Symbol , page 9, 1969

Christian Boltanski (French, b. 1944) Jewish School of Grosse Hamburgstrasse in Berlin in 1939, 1991, moving photographs, fans, florescent lamps, dimensions variable

Christian Boltanski, The Reserve of Dead Swiss, 1990 (two different installations) We hate to see the dead, yet we love them, we appreciate them Boltanski

Hans Haacke, detail of Shapolsky et al, Manhattan Real Estate Holdings, a Real Time System as of May 1, 1971, two enlarged photographs, 142 black and white photographs with typewritten data sheets, six charts and one explanatory panel

Martha Rosler, detail of The Bowery in Two Inadequate Descriptive Systems, 1974, 45 black and white photographs mounted on 24 mat-board panels, each panel 25 x 56 cm

Lorna Simpson (US, b. 1960), Counting, 1991, photogravure with silkscreen, 73 3/4 x 38" "I would hate to think that my work is perceived as a portrayal of victimization. I want to relate the dynamics of a situation, both how that situation occurs and how it affects people’s lives. In another sense, the work is not answer-oriented. It’s intentionally left open-ended. ” Simpson

Allan Sekula, detail of Aerospace Folktales, 1973, 51 black and white photographs in 23 frames, 56 x 72 cm each, three red canvas director’s chairs, three CD players and speakers, three simultaneous unsynchronized audiotape recordings: duration 17 min, 21 min and 23 min, edition 1 of 2

Victor Burgin, Today is the Tomorrow You Were Promised Yesterday, 1976, from the eleven-part series UK 76, gelatin silver print on aluminum, 102 x 152 cm

Victor Burgin, one of seven panels from The Bridge, 1984, each 76 cm H

Cindy Sherman (US, b. 1954) Untitled Film Still #27, 1979, black and white photograph

Cindy Sherman, Untitled Film Still (left) #37, (right) #13, 1979

Cindy Sherman, Untitled #188, 1989, Chromogenic color print, 43 1/2 x 65 1/2“ Hans Bellmer (German, 1902 -1975) 'Poupee' in Hayloft, 1935 -1936

Annette Messager (French, b. 1943) My Vows (Mes Voeux), 1988 -91, gelatin-silver prints under glass, and string, dimensions variable detail

Messager, Casino, French Pavilion, 2005 Venice Biennale

Sherrie Levine (US b. 1947) Untitled (after Alexander Rodchenko: 9), 1987, gelatin silver print; (right) Rodchenko (1891 -1956)

Sherrie Levine, After Walker Evans, 1981 (right) Walker Evans, Hale County, Alabama, 1936

Jeff Wall (Canada, b. 1946) Installation view of the exhibition Documenta 8, Kassel, Germany, 1987, showing The Storyteller, 1986

Jeff Wall, Picture for Women, 1979, transparency in light box, 163 x 229 cm

Wall, Picture for Women with Edouard Manet, Bar at the Folies Bergere, 1891

Wall, No, 1983, transparency in lightbox, 330 x 229 cm

Jeff Wall, A Sudden Gust of Wind (after Hokusai), 1993, transparency in light-box, 229 x 377 cm

Jeff Wall, A Sudden Gust of Wind, 1993, 229 x 377 cm Katasuhika Hokusai Ejiri in Suruga Province c. 1831 -3, from 36 Views of Fuji, 26 x 38 cm

Allan Sekula (US. b. 1951), Detail, Inclinometer: Mid-Atlantic, 1993, from Fish Story, 1987 -95, “Middle Passage, ” chapter 3, plate 27 Fish Story was featured in Documenta 11, 2002

Sekula, Panorama. Mid-Atlantic, 1993, from Fish Story, chapter 3, plate 28

Sekula, Third Assistant Engineer Working on the Engine while Underway, 1993, from Fish Story, “Middle Passage, ” chapter 3, plate 31

Sekula, Conclusion of the Search for The Disabled and Drifting Sailboat Happy Ending, 1993, from Fish Story, “Middle Passage, ” chapter 3, plates 32 -4