This offering simply speaks to a market demand acknowledging this thinking. But what harm is it to a legacy that many young and "hip" artists are interesting in redeploying the technology, as a natural counterpoint to an contemporary environment preferencing the digital technophile. In a quest to profile Polaroid as a serious and cutting edge art form, its inventor Edwin H. That Land and Polaroid were technologically forward-looking is a good point. I'm a bit surprised that you resorted to the term "hipster", as it is simply a dog whistle in this context. And this is healthy exploration and quite consistent with practices, mining the past (idealized or not), defining postmodern practice. But, truthfully most interested will - and have - fashioned such items with duct tape and their own curiosity. Overzicht van de Internationale Polaroid collectie van 4400 werken van 800 kunstenaars, aangekocht door het Weense WestLicht Museum. Achim Heine, Rebekka Reuter, Ulrike Willingmann. From Polaroid to impossible : masterpieces of instant photography. Hitchcock, Barbara, Rebekka Reuter, Achim Heine, and Ulrike Willingmann. This is marketed as a bit of a boutique item that is obvious. From Polaroid to Impossible Masterpieces of Instant Photography, The Westlight Collection. I guess I see it like this: If someone with tight jeans, Buddy Holly glasses and a penchant for Roy Harper records on vinyl wants to use a tool (any tool) in service of potentially aesthetically and conceptually engaging work, then I am all for it.
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