Exhibition photography as critical tool in art press

In a 2012 piece, Rémi Parcollet explores how exhibition photography influences art criticism, highlighting its common use in art magazines yet its untapped critical possibilities. Parcollet traces the evolution of photography's connection to art criticism back to the mid-19th century, referencing Théophile Silvestre's 1853 work, Histoire des artistes vivants, which was the first to feature contemporary artworks through photographs by Baldus and Le Secq. He also examines the commissioned photographs of Rodin, as discussed by Hélène Pinet, and evaluates the contributions of Hans Namuth and Ugo Mulas. Namuth captured exhibition views for the Denise René Gallery in the 1970s, while Mulas, characterized by Umberto Eco as a 'critical photographer,' reinforces the notion that exhibition photography can foster critical dialogue.