While the aesthetics of consumption (photographic or otherwise) requires a heroicized myth of the artist, the exemplary practice of the player-off codes requires only an operator, a producer, a scriptor, or a pasticheur.

... photography, like all camera-made images such as film and video, effaces the marks of its making (and maker) at the click of a shutter. A photograph appears to be self-generated - as though it had created itself.

In the final analysis, photography... is ever a hireling, ever the hired gun.

As Plato insisted two thousand years ago, it is not by means of the image that moral, ethical, or political knowledge is produced.

The thing itself is never just out there in the world waiting to be framed by the photographer's Leica rather, it is something dynamically produced in the act of representation and reception and already subject to the grids of meaning imposed on it by culture, history, language, and so forth.

Contemporary art photography, or, more specifically, what I would term mainstream art photography, represents for the most part the mining of an exhausted lode.