I am suggesting today that the vitality of the work of the first four artists I showed —Mel Edelman, Adam Baer, Lori Nix, and Tracey Moffatt— has been underwritten not so much by technology but rather the spirit of the digital age which has allowed the aesthetic object to migrate easily between disciplines and genres and has encouraged an aesthetic practice that is realized outside of traditional structures and exists in the interconnected web of new contextual possibilities and conceptual variations.

In this brave new world, photography as we know it ceases to be a singular discipline. Rather it is just one of many tools employed in the process of exploration and communication in a new world of artistic emancipation.



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