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So if you have never heard Emmet Gowin talk, then you are probably missing out. Anyway, here is an Emmet Gowin interview in which he is being especially beautiful, but you should skip the intro. What a man.

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I would like to make a book, although I haven’t decided what method to use. My options would be to do a Japanese stab binding of loose pages, an appropriation of a book that I incorporate images onto, or a binding with a signature (folded pages) and have the photo prints matted onto the pages.


Japanese stab binding

As per the content, I would like to work with text, images, and maybe drawing. I am experiencing a profound state of boredom, therefore my project will be about nothingness. I will incorporate a super-subjective language of images, similar to this book by Marten Lange.


Marten Lange, Another Language

If I worked in appropriating a book, I would think about this book by Adam Broomberg & Oliver Chanarin in which they appropriate the bible.

John Divola’s art seems pretty compelling of sorts and in the interview he seemed to have some really thoughtful ideas even if he contradicted himself a little bit. I was mostly interested Divola’s works about vandalism, and those running dogs. I mean what’s that about. Also he used flash (in “Vandalism?”), which is super fantastic because I feel as if most professional photographers think flash is silly and a bad quality technique. So he says the relationship between silver paints and silver in photographing wasn’t necessarily what the Vandalism series was about which was confusing I guess it was more about combining the paint and photo? When they talked about “As Far as a I can Get” and the amount of time it takes to run away from your camera, but in context to aging, losing speed, that series became more about mortality. Which you cannot see at all from just photos in a way, and my perception of that series and all of this other series just greatly increases in quality with his artist statements and his words in this interview. For some reason the images only didn’t not seem as successful as they did after I learned the background story on each project.

I did like when Divola and the interviewer person discussed the “Dogs Chasing My Car in the Desert” series. Those pictures were pretty decent mostly because the movement of the animals was so simple but effective, but more importantly the thoughts behind it were fascinating. To Divola that series talks about time as fiction and the pictures becoming fixed moments. Also one thing leads to another. He says some cool things in his artist statement about it.
Is his artist statement about “Dogs Chasing My Car in the Desert” he say this thing:

“Contemplating a dog chasing a car invites any number of metaphors and juxtapositions: culture and nature, the domestic and the wild, love and hate, joy and fear, the heroic and the idiotic. It could be viewed as a visceral and kinetic dance. Here we have two vectors and velocities, that of a dog and that of a car and, seeing that a camera will never capture reality and that a dog will never catch a car, evidence of devotion to a hopeless enterprise.”

On another note, why note look at this picture by Andrew Lyman

So basically photo isn’t new or exciting. Also you can’t make art out of it unless you are at a university, and yeah that’s definitely true, and I agree with everything this guy is saying.
In a lot of situations photography isn’t art because it is used solely as a transmission of documentary ideas– it’s used in advertisement, medical shit. Which is actually really great.

This is a great time for me to read this because I’ve been thinking a lot about how the concept within a subject is really the only important thing in a photo. I mean we can all can make a decent photo print. Therefore, the actual process of photography is (perhaps inherently) useless. Mostly because a photo is about, as someone might say, “THE THING ITSELF.” Seriously though, if you can identify the subject, then it matters that you took a picture of it. That’s why I am really trying to use photo as an avenue for my ideas, instead of as a tool to communicate about the medium of photography itself. Don’t we already know that photos capture light?

Hey in the mean time look I found some art.

Steve Kahn

So there is this artist that has a similar project to Zander Olsen. It’s called Dignity and is by a Hungarian photographer Bence Bakonyi.

Also

There is something about landscapes that can become boring. I think it is mostly to do with my over exposure to that kind of idyllic postcard type of photos that exist in large numbers. However the interview with Robert Adams was not boring and caught my attention at certain points. For example, when Robert Adams said walking was ‘about mandatory.’ And then again when he said he walked back through the landscape that he had been walking since high school. I found that the most relevant part of the podcast because the way be described the art as turning into a sort of truth for people that live there. I (as well as any person really) can relate to that because I am sure there are certain landscapes I could photograph in my home town that would say a lot to the people that lived there, but would not be as relevant to people who had not spent a lot of time in my hometown. There is something about spending time in an environment that changes the way you look at it. Walking is mandatory because you have to slow down to find something more interesting.

Here are some landscape people

This is Wang Yuanling.

Daniel Seung Lee

So I found this photo on American Suburb X, which seems to be a pretty fantastic site. Almost everything I looked at was interesting to me. However, although everything was very visually appealing I was originally confused about the layout. I also really enjoy the Asian Photography Blog. Anyway, this photo is by Philip-Lorcia DiCorcia and is from a series called Hustlers which is pretty famous. Philip-Lorcia DiCorcia does many interesting portraits that are both narrative and surreal looking.

There is also an interview.