If we are to make photographs that raise questions or make assertions about what is in and around the picture, we must first be aware of what the ideological premises are that underlie our chosen mode(s) of representation. Such awareness will structure the aesthetic, editorial, and technical decisions that are made with the goal of communicating ideas in a provocative (and yes, creative!) way. As part of this program, a reassessment of the museum/gallery system is in order. Many artists have found it necessary to seek other venues for their work. Should the rare fate of “art fashionability” befall the photographer engaged in socially committed work, s/he must be vigilant about protecting the work from being removed from its own history—from having its captions removed, its tape recorder unplugged, or its sequence jumbled. It goes without saying that any issue-oriented work becomes transformed by history and loses its immediacy with time, but this is no justification for abandoning the work’s current cultural task to the first (or highest) bidder.
FROM: Bright, D. (1989) Of mother nature and marlboro men: An Inquiry into the cultural meanings of landscape Photography. In Bolton, R. (Ed.) The Contest of Meaning (pp. 125 – 143). Cambridge, MA: The MIT Press."