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.