In the language of human (or time) geography, the life path of the war photographer marks a tense existence between inclusion and separation. Understood spatially, the activity of the photographer is located inside or outside demarcated zones which establish for the photographer and the work a position and a role. The photograph, and what we come to know of it, is the product of this activity and signals to us the conditions of its source moment.
The Canadian Centre for Architecture: Phyllis Lambert’s magnum opus: expanding categories, moving boundaries (1989)
As a character in the modern era, the collector is a mostly abused type. Widely dismissed psychologically as anal retentive, in terms of political economy portrayed as a hoarder and perhaps a manipulator of values, and in the circuit of creative production seen as the parasitic terminal figure who swallows all and returns no more than a belch.