Photography, more than any other art, blurs the line between form and content. A formally superb photograph of a banal or even ugly subject — Edward Weston’s produce, William Eggleston’s tricycle, Irving Penn’s cigarette butts — can most certainly be a great photograph. Yet just as certainly a formally undistinguished photograph of a compelling subject can be compelling.
SOURCE: Boston Globe at 07:07PM on May 2, 2011