Contemporary Photography in France: Between Theory and Practice

What Tschudi certainly has done is use Piranesi as a foil to delineate a history of modernism, particularly architecture. As Tschudi clearly states, this book contains only a small and select presentation of Piranesi’s prolific output—mainly his etchings, his greatest legacy. “In short, rather than a study of a historical figure, this is a book about an ahistorical Piranesi—a character reinvented in the modern age to legitimize that age precisely as modern” (p. 18, my emphasis). That Tschudi is fully aware of the precariousness of his investigation into the enigmatic nature of Piranesi is evident from this passage: “This book admittedly offers an ambiguous conclusion to the story it tells. Still, in its ambiguity, I hope this monograph may be inscribed into an esteemed genealogy of Piranesi emulations, for nothing can be more noble in this tradition than the ambition to rein in the endless and contain the infinite, only to be deceived by the format” (p. 231). I believe this book is an important addition to the literature on modernism and, of course, a wonderful exposé of Piranesi and his work. Perhaps unintentionally the book is equally important as a case study in postmodern deconstruction, authorial intent, and how the fads and trends of different epochs change dramatically our appreciation and understanding of art. This book requires close reading, keeping the ambiguities and enigmatic nature of the whole enterprise in mind.