Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs
Misunderstandings (A Theory of Photography) from Artists & Photographs

Mel Bochner

Misunderstandings (A Theory of Photography) from Artists & Photographs , 1970

Artwork Type: Prints
Medium: Offset envelope, containing ten offset cards
Dimensions: Composition: 6 in x 9 in
Dimensions: card (each): 5 x 8 inches (12.7 x 20.3 cm); envelope: 6 x 9 inches (15.2 x 22.9 cm)
Accession #: 19780558A
Department: Art Council
Credit: Collection of University Art Museum, University at Albany, State University of New York on behalf of The University at Albany Foundation , Purchase of Art Council
Related Exhibitions:
Affinities and Outliers: Highlights from the University at Albany Fine Art Collections
Persuasive Images: Selected Works from the Art Collections at the University at Albany
Object Label:
Mel Bochner’s (b. 1940, American) Misunderstandings (A Theory of Photography), 1970 series of offset lithographs dissects the subjective “rules” that have governed the medium of photography. Bochner made this work at a time when photography was being questioned and defended as a formidable medium in art. Six of the quotations on the cards are sourced from literature, and three are invented by Bochner and question the framework and rules that artists, critics, and historians have ascribed to the field. By creating ambiguity among actual and forged sources, the artist questions the authenticity of representation that is inherent to the photographic medium.
Affinities and Outliers: Highlights from the University at Albany Fine Art Collections

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