The Optical Unconscious: Painting And Photography

The nature that speaks to the camera is different from the one that speaks to the eye: different above all because, thanks to it, an unconsciously constituted space replaces the space constituted by human consciousnessIt is not difficult, for example, to notice (even if only roughly) the way people walk, but surely we do not know anything about their attitude in that fraction of a second in which the step is lengthened. Only thanks to her we have news of that but surely we do not know anything about his attitude in that fraction of a second in which the step lengthens. 

For many photography theorists, unifying the history of this medium has to do with photography's struggle to carve out a niche in and before the artistic field. However, the history of photography is far from being completely defined or finished with the fulfillment of that challenge, an objective that could have been fairly consolidated around the 1930s and completely institutionalized by the 1960s.

In reality, photography has followed suit and has far surpassed and complicated that goal of insertion in the world of art. In fact, the two great moments in the history of photography, after 150 years of development, undoubtedly gave way to a whole transforming structure of art.

Today we can affirm that contemporary art develops hand in hand with photography, especially since the last decades of the 20th century. And precisely the history of modern painting shows a spiral of permanent relationships between photography and art, as well as different nuclei of interdependence between them in which it is not only painting that offers solutions to photography, but vice versa. 

It is essential, we believe, to attend to an understanding of contemporary art beyond classical stereotypes and miraculous encyclopedic compilations of artists and movements. It is a very valuable exercise, in order to contribute to updating the histories of photography and art, to relate the contributions that photography has been able to offer to painting. The theme requires reconnecting the threads of his technique, his social reception and his profound aesthetics.

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