Jeff Wall
[Photographer, b. 1946, Vancouver, Canada, lives in Vancouver.]

 I’m struck by things I’ve seen, but I don’t photograph them. If they persist in my mind, I try to recreate them. 
 It is astonishing to remember that important art-photographs could be purchased for under $100 not only in 1950 but in 1960. 
 Photography could emerge socially as art only at the moment when its aesthetic presuppositions seemed to be undergoing a withering radical critique, a critique apparently aimed at foreclosing any further aestheticization of “artification” of the medium. Photoconceptualism led the way toward the complete acceptance of photography as art—autonomous, bourgeois, collectible art—by virtue of insisting that this medium might be privileged to the negation of that whole idea. 
 The still picture is the most free visual form, it invites the most free experience. Since it shows only an isolated moment, it cannot and must not show other moments, it can only suggest them. We take the suggestion, and elaborate it ourselves, freely, or very freely, according to who each viewer is, or wishes to be. 
 Dragging its heavy burden of depiction, photography could not follow pure, or linguistic conceptualism all the way to the frontier. 
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