New York

Max Kozloff

Holly Solomon Editions

When Jean-Luc Godard went from writing film criticism to making movies, he said that he saw no essential difference between the two. In most mediums this is true, or at least possible. The core of the criticism has often been written by the artists themselves anyway (think of how T.S. Eliot’s essays on poetry shaped literary criticism in general in this century), so those involved in the field move naturally from critic to artist and back again. But in photography, this has not been the case. The reason this medium doesn’t have a rich tradition of criticism is not that there’s nothing to be said about it, but that the photographers themselves have been reluctant or unable to speak. The greatest practitioners have more often than not been taciturn people who don’t enjoy the gregariousness of critical dialogue and don’t readily verbalize their ideas. Criticism requires extreme powers of

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