Phillip Chee

John K. Samson

During the 1980s, the rhetoric of criticism took on a dogmatic tone that was particularly surprising given its origins in the academic milieu, which is usually more open-minded. A new photographic order seems to have emerged in which the critics, art institutions and the commercial galleries are like the points of a Bermuda Triangle where artists written off as non-conformists can soon find themselves condemned to the watery depths.
— Serge Jongue, The New Photographic Order