Two posts back I mentioned two concepts of the picture. The second one—broken, fugitive, moving, unstable—has a definite relation to the most profound idea in modern photography, the “decisive moment.” You could even connect it to street photography in particular, because it’s objects are always moving away, which is a metaphorical way of saying they are always changing. However, I don’t get it from photography, but from the temporally intense tradition in American painting—Pollock, Frankenthaler, Louis, Smithson. Motherwell is also a relevant figure, especially works like his Lyric Suite. Still, the photographic connection is very interesting.
The conflict is between the established powers of painting, which one would be foolish to oppose, and the modern new; between stable structures and slippery life. The question is whether, in the context of a work of visual art, that second position can be ever be anything other than a metaphor.