“For decades now, Douglas Crimp’s landmark 1980 essay ‘The Photographic Activity of Postmodernism’ has shaped our understanding of modernism’s aftermath, at least as it unfolded in North America and Western Europe. Less remembered, however, is the degree to which the procedures of disjunction, copying, appropriation, and outright theft that he highlighted were epitomised not just by contemporary photography, but by photomontage in particular.”
Andrés Mario Zervigón (2019) The Photomontage Activity of Postmodernism, History of Photography, 43:2, 130-143, DOI: 10.1080/03087298.2019.1676982
Chris Whittle 