By RICHARD B. WOODWARD
Painters have nervously vied with photographers ever since Daguerre announced his invention to the world in 1839. Smug representatives of the avant-garde from each medium have at various times declared the other one crass or elitist or monocular or dead. A succession of art movements, from Impressionism to Pop, can be defined by their rejection or adoption of the latest picture-making gizmos.
Several New York shows in the past six months indicate that painting and photography remain locked in an uneasy, co-dependent relationship but have also learned to feed off each other in the digital era as never