Aesthetically unpretentious, generally functional images made by amateur snapshooters or grass-roots professionals (e.g. itinerant tintypists, photowallahs, or jobbing local portraitists) for everyday purposes such as creating keepsakes or recording mundane objects. In 1964, John Szarkowski mounted an exhibition at MoMA, New York, that combined both ‘art’ and (often anonymous) vernacular works under the title ‘The Photographer's Eye’; a book with the same title appeared two years later. Its aim was to elucidate the formal questions common to all branches of the medium. However, some critics saw the juxtaposition as tending to subvert the authority of the ‘canonical’ pictures - just as they were beginning to be taken seriously by museums and dealers. Later, in a celebrated 1976 essay, ‘Diana and Nikon’, Janet Malcolm reviewed the issues and noted both the continuing growth of historical and market interest in vernacular work and the spread of a ‘snapshot’ aesthetic in the avant-garde. Both trends have persisted into the 21st century.
— Robin Lenman
Bibliography
- Malcolm, J., Diana and Nikon. Essays on Photography (2nd edn., 1997)
- Cotton, C., The Photograph as Contemporary Art (2004)