ABSTRACT
No artist in the twentieth century thought more deeply about the problem of audience response than Minor White. The indexical qualities of the photographic medium, which seemed to suggest the limits of expressive communication, led White to explore every facet of audience response in order to devise an approach to convey ideas by indexical means. White’s photographic and theoretical practice engages all of the central themes of the post-60s theorization of the photograph—accident, automatism, affectivity, sexual difference—but turns every postmodern assumption about photographic agency on its head.
