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T
he historical debate over the legitimacy of photography as an art form boils down to a question of instrumentation. The primary belief postulates that if the tool used is too scientific or automatic, then the resulting product cannot be art. In other words, art requires purposeful human intervention and modification, or else the result is purely mechanical and nothing more than a topographical record. Overlooked is the fact that the camera itself is a man-made intervention and modification device. The idea that tool-use distinctly defines art now seems quaint.
“In conceptual art, the idea or concept is the most important aspect of the work. When an artist uses a conceptual form of art, it means that all of the planning and decisions are made beforehand and the execution is a perfunctory affair. The idea becomes a machine that makes the art.” - Sol LeWitt
