tradition and the new, Arthur Danto's recent elaboration of a thesis of the 'end of art' does provide such a theoretical underpinning for the opposition that the conference seemed to presuppose. While the conference did not itself make a theoretical argument for the opposition of. Central to the way the conference was advertised and described was an implicit tendency to view tradition as wholly separate from the new. This article takes its shape from a recent conference at the School of Visual Arts in NYC on the theme, 'Tradition and the New: Educating the Artist for the Millennium'. Finally, the chapter reflects on criteria whereby photography collections were founded within art museums. The process involves translating photographic prints into tiny dots of varied sizes. Mass reproduction was facilitated by the development and commercialization of the half-tone print process in the 1880s. Historical studies vary according to purpose, context, and starting point. It follows that photography has found a place within art history as well as within broader social histories. Photographs were eventually accorded a place within the art museum. photomontage, and photographs within mass circulation publications. The focus is on photography as witness to social circumstances and on modes of perception specific to the camera-eye including experiments in new angles of vision. It relates aesthetic questions to socio-political change, paying attention to the presence of women within the historical field. This chapter critically situates debates and practices pertaining to modern photography as visual art.

The Absolute Bourgeois by T.J. Clark