Beginning in December 2014, while writing this book to a close, I received an email from the European House of Photography. I throw a fairly tired eye and am drawn to one word: photo-graphs.
Study the space where the visual and textual intersect … View detach, among the immensity, a silhouette, the American photographer Duane Michals’s. The first to place photographs in a narrative. Enter the tenuous link between photography and literature that is tied around the years 1960-1970 while the photographic medium is democratized and that opens the prospect of what is now called the mixed media arts.
The idea is to evaluate the distance between the narrative strand of madness Michals-ienne young contemporary photographers. Because the Internet has hackneyed art cards. Because the commissioner must now to be a writer, exposure must be history and the photographer must know how to write. Also because, as the great founding myths that were the religious writings are rejected by a large part of the cultural and intellectual world, performers face an increasing need to tell the story.
Because we went one level in the era photographs. Photographers publish, write, tweet and combine text and image in a thousand ways. All are well representative of a new figure, that of which this book delineates the writer of photography, including Duane Michals opened the way to future singers of Small Things.