think! respond! finally.

A good picture engages and provokes a response from the viewer. I think that some formal composition, such as use of framing and lighting, is necessary in order for a picture to be good in and of itself. I think it’s important that a good picture communicate an idea with its audience. These ideas don’t necessitate profundity, but they should force the viewer to react, and provoke a response to what they are looking at. I also think a good picture needs to do more than solely provide an aesthetic experience that catches one’s eye.

I think that there are some pictures I would like to see in black and white and others that I would prefer in color. I feel that making black and white pictures is more intrinsic to working with film, while in this class, digital has allowed for a great deal of potential printing with color. I am drawn to both kinds of mediums, although I think ultimately I prefer film. I like the purity of actually using light to make a photograph, and I don’t think that digital images capture the lighting as well as film does, but this may only apply to specific pictures. I like both, and ultimately my conclusions on these questions are unclear at best. I think that color can be used for a purpose, but there are times where black and white is more apt to illustrate the idea that the picture is communicating.

I caught myself initially trying to make a more profound statement in my project than was necessary or desirable. I thought that the feedback I got from discussing our ideas and projects in class over the past couple weeks was meaningful and helped what my project eventually evolved to become. I found it challenging to get a bias perspective on the theme of the project partly from Bowdoin being a relatively homogenous community, but I think that it conveyed with some success ideas of the close surrounding community that we are a part of. My intent was to portray the ideas of individuals, to reflect on what I thought to be logical and meaningful questions that people should ask themselves in relation to the country we live in.

I had a lot of fun with the panoramas and thought that the night shots were especially successful. The juxtaposition of the panoramas of the gas station and the empty Wal-Mart parking lot to the ones during the day of Maine Street with the cars and cemetery worked well. I thought mounting on the foam core worked well to provide for some relief off the wall. Velcro is awful and pretty expensive. Stapling on walls also sucks. If I could do it over again I would’ve grouped the answers to the questions in each row between the panoramas but I still don’t know if I like grouping the panoramas and the individual pictures separately. I was intrigued by the idea of portraying this multiplicity of opinion and ideas surrounding this issue of patriotism, and thought that if I installed something that had a lot going on, it would communicate that idea. I think that not revealing the questions was the right decision, though I should’ve grouped the pictures respectively.

Ultimately, I was relatively happy with the end result. I feel like it was a really satisfying and rewarding culmination of the work that I’ve done throughout the semester. I’ve really enjoyed how this class is structured in such a way that we’re able to do what we want to do and make decisions with legitimate rationale.

chuck is sick

When Close uses the photos to make paintings in the grid template, it produces such an incredible aesthetic experience. The collage like paintings are fascinating, specifically how he uses a grid pattern to fill rectangles separately with different colors, patterns and shapes. This meticulous process produces an amazing result of a beautifully distorted image. It really pushes his medium of using both photography and painting in a unique and innovative directions. Close's variations on color and shape emphasizes the nuanced intricacies of his work, where subject matter seems to become secondary. I think this offers a wonderful perspective on images, in which distortion is achieved through this tremendous method of composing what is more than a picture.



I'm intrigued about his use of materials and methods of making these photorealist works. His paintings are incredible, and I think part of what provides this value is the fact that they look like photographs. His work is so tremendous and I like how a lot of his work revolves around the idea of a relatively, close-up portrait. What makes it interesting is how he uses a variety of mediums and methods to achieve an amazing amount of variation in his work. It's about how he composes the final work, rather than what he is ultimately depicting. His use of black and white is captivating in how he is able to show the lighting and details of the face with the different variations of brushstrokes he uses, such as below in "Georgia Fingerprint." The reason there are tools on computers to chuck-ify images is because Close is the man and a true innovater.

3+3

salgado

http://www.pdngallery.com/legends/legends10/

Is Salgado exploiting his subjects? Does he make pictures that exploit his audiences by making these “explicitly didactic” images? I think the answer to both of these questions is yes, in a sense, although I don’t think at all that is a negative statement on the work. I disagree with Kimmelman and am not convinced that he quite appreciates everything that Salgado has to offer. Kimmelman offers a relatively harsh criticism of Salgado as compared to Walker Evans, and dismisses it because of the differences he offers. Salgado is certainly not Evans, and I don’t think that he tries to be at all. I love Evan’s pictures of the Burroughs family and their home, but Salgado has a different process and philosophy behind his photography. This is what really interests me about this body of work. His intention is indeed very edifying, but I guess I am drawn to this notion of making a clear statement. I think Salgado’s pictures are absolutely tremendous. They are incredibly beautiful images that feel like they pierce your eyes and heart while giving you a gratifying aesthetic experience.

By not leaving ambiguity up to the viewer, I think Salgado’s work possesses a lot of power. He forces the viewer to interact with tragedy, hardship, and suffering through these humanizing portraits of people that have been dehumanized and oppressed. The pictures are poignant and dramatic, and bring to life the injustice and anguish of individuals whose lives have been shaped by the oppression that they endure without choice. His photographs are dramatic because they need to be.

Here’s a quote from an interview with Salgado:
“At this time, I want to speak out for immigrants, for those who live in such circumstances, and to speak out to those who can receive them. I want to show the immigrants' dignity in their willingness to integrate into another country, to show their courage and their entrepreneurial spirit and, not least, to demonstrate how they enrich us all with their individual differences. Above all, by using migration as an example, I want to show that a true human family can only be built on foundations of solidarity and sharing.”

He is speaking out for people who have no one to speak out for them. He uses photography as a means to communicate awareness about the world, but also understanding of other peoples and cultures. I find it callous to think that people think Salgado’s work to be sanctimonious or to revealed “signs of vanity.” Kimmelman captures it up well when he writes that “It’s a tricky business to get people to look at other people they may have spent a great deal of time trying, consciously or otherwise, not to notice.” Salgado’s photographs are wonderful and painful at the same time because they force you to acknowledge, in some part, the suffering of another human being.

weiss

I think that the composition in Weiss's pictures is really interesting. I like how he uses a shallow depth of field and where he focuses in the images. His use of natural lighting is really impressive. I thin that 'piano' is a really lonely and dramatic picture. The Cathedral in 'San Marco' is incredible, it doesn't even look real. I think pictures like 'rainy day' and 'man in glasses' are beautifully dramatic. I am really drawn to his pictures of people. They are kind of distant portraits because he forces the subjects to interact and engage with him, with a few exceptions. He seems to capture a certain essence about them, sometimes through giving them action, and other times with their dress or expression. I like how he fills the frame and uses the positive and negative space eloquently. His eye tremendous, and its fascinating how he is able to capture such interesting people and places with such expression and composition.

couple sundays worth

panoramaland

Making panoramas presented new issues that I hadn't encountered yet in this class. It required a clear plan and specific direction to work in. Coordinating shooting, costumes and locations presented issues that I haven't had to consider before generally. I wish we had printed much larger, but I was happy with the print quality that we had. I think it would have been more effective if we had found more cohesive transitions between the different scenes, in terms of aesthetically and the narrative behind it. I think if I had been in the panorama more than once, it could have pushed the narrative a bit further and been more effective. I also think if we could've lined up a shot of the road with the cematary the transition would have been smoother. I enjoyed working with Hilary, and I think that we came up with a solid idea together. Making panoramas was really satisfying, and I think that there is a lot of potential behind this. It also helped to spark some ideas for my final project. That was nice.

gerda taro nina berman

I think what's interesting about Taro's photographs is that they put you in the midst of war. You see behind the scenes shots of what sometimes seems like stills of cinematic footage. I think what her photographs offer is a glimpse into the humanity of war, and brings it to a level that anyone can identify with. Her images depict people in the midst of war from a behind-the-scenes perspective. They offer quick narratives and have a gritty, genuine feeling to them, which is satisfying to the viewer because they reveal how Taro was willing to risk, what ultimately constituted her life, to capture these images. She is able to strongly convey drama in her pictures, which, in the context, makes poignant political statements. I think its fascinating how she uses her images to address this struggle against Franco and fascism and to put forth what she assumed as a political responsibility as a war photographer.

Berman's photographs are painful to look at, which brings meaning to them for me. Literally its hard for me to sit and look at them, and try and understand the physical and psychological struggle that Iraq has put them through. After they forced me to attempt to comprehend on some miniscule level the pain they have undergone, it makes a profound political statement. I think their shocking nature gives them a great deal of significance, in presenting questions about the war in Iraq. Is the injury and trauma that these individuals have undergone worth what the United States is accomplishing in Iraq. But they aren't accomplishing anything, only making things worse, and disposing of people's lives for their convenience. Berman's pictures are profound and overwhelming at the same time, and really produce a jarring reaction, which I think is incredibly important.

chandelier conspiracy?

I guess I find it hard to believe that the influx of realism in painting in Europe was due simply to from painters tracing from projecting images from a camera obscura or concave mirror. It seems to me that throughout the article that Hockney's claim is inconclusive with regard to the methods of van Eyck. Sure, there is a possibility he is right, but I'm not convinced that this was the case generally for painters who were shifting towards a realist style. Regardless of my lack of knowledge surrounding painting and trends in art in the 14th century, I couldn't help but think about if this notion surrounding the painting completely missed the point. The Arnolfini portrait seems to offer much more than simply the chandelier. The light portrayed in the chandelier and on the window frame is incredible, and the reflection in the mirror is fascinating. I appreciated Crary's notion of this method of examining art the end of the article, "Scientists are preoccupied with imperfection. They are so out of touch with what making art is about."

novel ?... novelty

This idea of cell phone art doesn't attract me very much. I think that using a cell phone to take a what is essentially a snap shot, isn't really the same as composing an image with a camera. I don't think that cell phone's provide you enough control over the camera and image that you're making, which only allows for a small variation of images. I think that using cell phones takes away from the process of composing a photograph. The low resolutions and relatively poor quality that results in cell phone pictures doesn't really interest me. I think that using a camera that has been consolidated into a phone, seemingly for instant gratification and ease of usage, doesn't really interest me. I feel like it takes away from thought processes in conceiving a picture, and simply provides a tool to capture the moment or something aesthetically pleasing or humorous. I don't think that it has much potential to be much more than a novelty.

furious five

only people who really like music can listen to music like that

Its clear that Minter truly works against the formal techniques, conventions, and styles, generally found in the art world. I think it holds a lot of value because it provokes an immediate response. It's in-your-face quality produces a powerful aesthetic experience in the viewer, and forces the viewer to make a judgment about it. In the article, Rabinowitz makes an intriguing analogy describing Minter's work:

"It's as if you are amplifying these realities, because some of what happens in the image is like what happens to sound when you turn it up really loud. You may get feedback, but you still get really pure sound. That's the way I would characterize the image: really pure sound for the sincere and open receivers who might want to tune in."

I think this speaks perfectly to Minter's work. She produces images and paintings that are completely unique, and consistent with that, I think they produce unique responses that people don't normally experience. I agree with Rabinowitz's comment to some extent that Minter's work is "made for the art world. It's not made for the rest of the image-consuming public." I like that Minter derives meaning from doing things that disrupt the flow of convention. I think that this has the potential for progress and innovation. I admired how Minter's philosophy of "just work with your truth; tell your truth, no matter if it offends anybody or not, and it will be right."

truth! by billboard?

Marilyn Minter has a fantastic name - it's dramatic, like her pictures and paintings. I like how her work is so raw, rich, and aesthetically satisfying. The subject matter seems completely counter-intuitive, but I think its pretty badass. I enjoyed the video of her describing her process and body of work. I appreciated when she said, "If I'm selling anything, it's a vision of what goes wrong." I like how she challenges fashion photography and the commercial media world by illustrating the human form with imperfections and flaws, and then forces people to interact with her work. She reflects on her work, "I like the idea of just having those moments that come out of nowhere and you don't know what they're about. It's my truth and I just get to do it on a larger scale with billboards." I like this idea of capturing a single moment, like in shit-kicker, which seems to challenge the boundaries of these shots that seemingly could be used for fashion purposes, but resist conforming to the unattainable perfection depicted commercial media and advertising. It has a raw, harsh, gritty feeling, which is really satisfying aesthetically when its juxtaposed to the glamour fashion shots .

ten is nice

animations

I loved this project. Animations are really satisfying to work with. I liked how it forced us to approach the project in a different way than we have worked this semester. iMovie is a lot of fun to use, and opens up a lot of possibilities for me. I think that I could push the possibilities with true animation rather than showing simply the progression of places like I did with my loop animation. After this project, I'm pretty much set on doing an animation for my final project. I think there's a lot of possibilities to work with still shots, moving shots, animations, in the same project, which can show animation in a variety of different ways.

safety envelopes

It was really fascinating to hear Mike talk about his work. The safety envelopes were amazing, and the digital manipulations that he used added an aesthetically captivating element to the pictures. The conception and execution of the project were incredibly cohesive, unique, and intriguing. I enjoyed how he was able to work from a medium of this mundane object, that seemingly most people encounter in their lives and don’t think very much about it. The manipulations added interesting elements that presented questions of form, color, patterns, and a third dimension. His discussion of private versus professional work, and approaches to each distinction of pictures was also fascinating. It was interesting to hear the challenges that he encounters every day in approaching different subject matter, and how that affects his professional work. The ethical questions that arise from the struggle to reconcile a delicate line between professional work and one’s private life struck me. These questions are ones that all photographers encounter and can’t ignore. It made me think about my work and how I approach making pictures. To what extent does the subject’s willingness to be a part of my work influence the picture and the meaning behind it? Is it ethical to photograph people who aren’t aware of it? Do you have to ask permission to take pictures of people in public? What is appropriate for me include in my work? These are issues that necessitate more than a ‘yes’ or ‘no,’ and ones which photographers encounter all the time. Mike’s discussion made me more aware of how important that boundary is, and how photographers must reconcile these questions personally and independently.

Bakery

Visiting the Bakery was a really fantastic trip, in that it really broadened tangible horizons for photography and the potential that it offers on a much larger scale, beyond college. Hollander’s work was incredible and I found it really interesting when she was talking about how most of her work comes out of her traveling, rather than her work influencing her traveling. Her discussion of her approach to forming bodies of work was fascinating, in how she focused specifically on the specific types of works, not generally stepping outside the boundaries she has placed on her pictures. The discipline and focus she exuded in what she showed us, and the perfection of a process in how to make a specific kind of picture, made me think about different ways to approach shooting and making pictures in general. I want to find a more consistent approach to shooting, so that I have a more organized method of operation, which I think could result in more successful production of pictures.

Shooting in the mill was sick. I loved how it was in the midst of construction and parts of the building were pretty decrepit. The lighting and the textures offered fascinating aesthetic appeal, and the wide, long, open rooms provided interesting shapes and forms. It was satisfying shooting there.

The Judy Glickman Collection at the museum was incredible. I enjoyed the personal aspect of the exhibit, where you could trace the relationships of the photographers and subjects, and the strong ties to Maine that were inherent in it. I appreciated the unique dimension that it added to the experience of viewing the photos. The collection was absolutely tremendous, and I was stoked to see the Sebastião Salgado in person. The Weston and Steichen works were incredible.

So despite getting lost and being late practically the entire trip, it was really great to go see everything we did. Field trips are sick.

i’d love some Jeff on my Wall

Jeff Wall isn’t interested in what Cartier-Bresson described as the “decisive moment,” but rather, the recreation of what defined the moment. His philosophical choice to make traditional art has characterized Wall’s work, which is heavily produced and staged to an incredibly tedious extent. His pictures provide poignant, yet subtle commentary, but Wall simply wants to present a picture, in and of itself. I think Wall’s work has changed my mind indefinitely about what constitutes integrity in a picture. Wall’s work seems to defy considerations of integrity of a picture being consistent with the authenticity of it. It embraces a picture’s ability to stand by itself. Subject matter becomes secondary to aesthetic influence on people. I find myself mesmerized by Wall’s works, with the rich visual experience they offer. I could seriously look at “An Octopus and Some Beans” all day long.

‘Mimic’ speaks heavily to me, and is a powerful statement on racism, which I can directly relate too. His work redefines the way photography can interact with an audience. The fact that these aren’t genuine moments in time doesn’t take away from the integrity of the picture for me. They are theatrical, but express such intense nuanced details, which are captivating. The dramatic backlighting of his images give the sense of depth, in pictures such as “Volunteer” and “A View From An Apartment, force me to want to go into the picture and explore the depth of the setting.

practice animation

ny times article - cardwell

This article discusses the new rules in NYC regarding shooting film and photos in public. These new rules make the environment for independent filmmakers and amateur photographers to shoot in public much more easily, with this lifted requirements of possessing a permit. What this represents is a relatively valiant effort made by the Bloomberg administration to make its rules more conducive to artists working in the city. This change is valuable to the art world, as it opens up the possibilities for artists to capture the public realm New York without intrusion, either from authority figures or inhabitants of the city. It forces the organism that is New York City to coexist with artists who are attempting, in turn, to interact with it. I think this in a way represents a political statement that speaks to uphold lawful integrity to issues of freedom of expression and civil rights.

sunday show

lies