The ubiquity of point-and-click digital cameras and camera-equipped smartphones seems to be leading us towards an era where it is more common to snap and share a picture of the present via a camera lens than it is to experience the present individually and through one’s own eyes.

Roberta Smith over at the New York Times laments this growing trend, which we label “digitally-assisted Killroy-was-here” syndrome, particularly evident at art exhibits. Ruth Fremson, New York Times’ photographer, chronicled some of the leading offenders.

[div class=attrib]From the New York Times:[end-div]

SCIENTISTS have yet to determine what percentage of art-viewing these days is done through the viewfinder of a camera or a cellphone, but clearly the figure is on the rise. That’s why Ruth Fremson, the intrepid photographer for The New York Times who covered the Venice Biennale this summer, returned with so many images of people doing more or less what she was doing: taking pictures of works of art or people looking at works of art. More or less.

Only two of the people in these pictures is using a traditional full-service camera (similar to the ones Ms. Fremson carried with her) and actually holding it to the eye. Everyone else is wielding either a cellphone or a mini-camera and looking at a small screen, which tends to make the framing process much more casual. It is changing the look of photography.

The ubiquity of cameras in exhibitions can be dismaying, especially when read as proof that most art has become just another photo op for evidence of Kilroy-was-here passing through. More generously, the camera is a way of connecting, participating and collecting fleeting experiences.

For better and for worse, it has become intrinsic to many people’s aesthetic responses. (Judging by the number of pictures Ms. Fremson took of people photographing Urs Fischer’s life-size statue of the artist Rudolf Stingel as a lighted candle, it is one of the more popular pieces at the Biennale, which runs through Nov. 27.) And the camera’s presence in an image can seem part of its strangeness, as with Ms. Fremson’s shot of the gentleman photographing a photo-mural by Cindy Sherman that makes Ms. Sherman, costumed as a circus juggler, appear to be posing just for him. She looks more real than she did in the actual installation.

Of course a photograph of a person photographing an artist’s photograph of herself playing a role is a few layers of an onion, maybe the kind to be found only among picture-takers at an exhibition.

[div class=attrib]Read the entire article here.[end-div]

[div class=attrib]Image: Visitors at the Venice Biennale capture Urs Fisher’s statue. Courtesy of Ruth Fremson / The New York Times.[end-div]