Look I don’t want to add to the beat up, but jeez some ridiculous things are being said about Justine Varga’s winning photograph for the Olive Cotton Portrait prize. Now a professor of Law at the University of Sydney is saying the chemical and light produced image of Justine Varga’s grandmother’s pen marks and spittle isn’t authored by Varga but by her Grandmother. Does she know nothing of the history of, say, conceptual art (Lewitt: ‘The idea becomes the machine that makes the art’) or participatory art? This completely out of touch law professor thinks that ‘expression’ must lie in the perfunctory hand made mark (presumably because Shakespeare wrote his plays by hand?), not in the photographer’s highly developed and thought through photographic process of indexical translation. Somebody else (responsible for the nausea we feel when we are landing in QANTAS planes) reckons it’s not a photograph, even though at its core it is driven by light and chemistry and touch, the things that have been celebrated as the core of photography by photographic theorist since, oh, I don’t know, 1839? Somebody else reckons its not a portrait of Varga’s grandmother, even though all anybody has been talking about is — her grandmother! And even though, to return to our Sydney Law professor’s valorisation of the hand in her misunderstanding of art authorship, we have all long been valorising and fetishising the hand made mark as a signature of the person.