The reading of photography has recently been in the spotlight as a new discourse in the complex context of both the inundations of photographic images and the post-modernistic trend in the photography itself, manifested in photo sculpture, photo-installation and photo-performance, in the late modern art.
This thesis is an attempt to show why modern or contemporary art and the photography are so interconnected.
According to Bourdieu, the photography can never be properly aesthetic, nor possess innate aesthetic criteria of its own. In fact, the most general evaluation of the photograph is the judgment based on the comprehensive reading of objects so that it is not concerned with values but with identity. It is also the judgment of figuring reality in one's mind in the viewpoint of what kind of object x or y is. Bourdieu also argues that the meaning of photography does nor originate from the creative sources of the artist who takes them. Rather it is determined by the system they belong to and the way they are used and read. Therefore, what we should remark in the photographs is not their purity, sincerity, reality and transparency, but the structural process of their exerting virtual influences and meaningfully stimulating our imagination. In this respect, the function of photography lies first and foremost in exploding the myth by uncovering what has been hidden and complexly entangled, or cultural systems, for instance.