We amateurs commonly speak of “taking a picture.” Those who practice photography more seriously used to grumble, “I don’t take pictures—I make them.” Point taken, but circa 1980, artists like Richard Prince and Sherrie Levine started talking about, and doing, what they called “appropriation.” Influenced by the conceptual art of the preceding decade, and haunted by the sense that pictures make us more than we do them, they tried out a second-order photography, making pictures by, literally, taking them from consciously artistic sources (Levine’s works “after” Walker Evans or Dorothea Lange) or purely commercial ones (Prince’s Marlboro Men). Theirs were images of images, photographs in quotation marks. Meanwhile, as if to prove the priority of images over real life, Cindy Sherman was populating her “Untitled Film Stills” with images of…
