The earliest controversies about the relationship between photography and art centered on whether photography’s fidelity to appearances and dependence on a machine allowed it to be a fine art, as distinct from merely a practical art. Throughout the nineteenth century, the defense of photography was identical with the struggle to establish it as a fine art. Against the charge that photography was a soulless, mechanical copying of reality, photographers asserted that it was instead a privileged way of seeing, a revolt against commonplace vision, and no less worthy an art than painting.
Ironically, now that photography is securely established as a fine art, many photographers find it pretentious or irrelevant to label it as such. Serious photographers variously claim to be finding, recording, impartially observing, witnessing events, exploring themselves--anything but making works of art. In the nineteen century, photography’ s association with the real world pla
A. defining the Modernist attitude toward art
B. explaining the attitudes of serious contemporary photographers toward photography as art and placing those attitudes in their historical context
C. explaining how photography emerged as a fine art after the controversies of the nineteenth century
D. defining the various approaches that serious contemporary photographers take toward the art and assessing the value of each of those approaches
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