http://www.lenscratch.com/2012/04/marie-jose-durquet.html
Species of animals are disappearing all over the planet, and many people are ignoring the problem. Marie-Jose Durquet, however, is bringing this issue into the light while capturing the light. What she has done is takes little strands of white yarn around, looks for places that will suit her creations, and makes the outlines of certain endangered animals on surfaces, mostly concrete or wood, and then photographs these pieces. She says that the simple outline and the white string is like the bones of the animals and that as they wear away with weather and deterioration, it is a metaphor for their disappearance. It's one thing to seem them in photographs, but I wonder what it evokes for the passerby? Do they know what the plant or animal is? And if so, will they know that it is endangered? That is one thing about subtly and indirectness that I always battle with. Is she wanting to raise the issue? And if so, will people understand her message? Or does it really matter that they understand, but rather that she is doing this to engrain it further in herself? When people would see this at the gallery and can read her artist statement, it is one thing, but being on the streets on L.A. without text or that gallery context is another. So which is more powerful then, the creation on the sidewalk, or the photograph of the creation? In any case, her work is very simple but beautiful and I am in full support of her focus.
http://www.lorinix.net/index.html
Suprisingly, Durquet is not the only one that has recently been written about in a blog who creates things for her photographs. Lori Nix's work is much less political or awareness based, but it's creativity is much more complicated. I wasn't really certain what I was looking at when I clicked on the website, and I didn't do any reading in the 'about' section before taking a look, but her work just had something wrong with it. Was it the colors? The content? I don't know, but I could tell that it probably wasn't photoshopped. What Lori Nix has done is created these little miniature worlds and settings where you feel like you are looking at some real place until it settles in or you see a taradactyl (I don't know how to spell =P) looming on a sunset. Most of them are quite surreal like the forest growing into the library or a dinosaur scene, but they all have this thing about them that makes you sure they are there, with how she's framed the shots and the lighting. To create so much detail in such a little space must require tremendous effort that I don't even understand, but they are all beautiful and warm places that I want to visit. Now that I look back on them, it's the texture that throws you off, but it doesn't bother you after you know that this is a miniature place. Some of her earlier works from 1998 definitely look like claymation scenes, like those from Wallace and Gromit, but she certainly has developed a newer more realistic style since then. In any case, her work is definitely worth looking into whenever you need some escape because the world is just too big and complicated.
Sunday, April 22, 2012
Sunday, April 15, 2012
This is your world
http://www.lenscratch.com/2012/04/this-is-your-world-at-carte-blanche.html
I find myself challenged looking at this exhibition on Lenscratch. The idea for the exhibit is based off of lyrics from an Emilie Simon song, which talks about the relationship between a young woman and the world around her. The images themselves seem very straight forward, nothing is very overt or grotesque or overly sexual about them, but there is still something that I feel like I am missing to connect when I look at them. And I think it's because I am lacking something that the photos themselves contain, womanhood. It seems strange that something like this could be challenging, but at the same time it almost creates a longing inside, for a man, to be able to connect with women in this realm, a place where we are seldom allowed to visit. And it is not that it is women in the photographs necessarily that does this, but how they are shot with a certain softness to them, the look on the women's and girl's faces. I'm sure most men who have dated some women can remember times when their girlfriend or even just female friend tells you that they are going to have a girl's night out or whatever it may be, and I'm sure that you were always curious as to what went on at these times, what it was that we weren't allowed to see or experience. There is a sort of lonely sensuality that comes to these photos, they touch places deep inside and move me, but I don't know if I can place exactly where it is that's being moved. Saya Chontang, Deborah Parkin, and Aela Labbe all give me the same sort of uncomfortable twinge, like I'm seeing something that I'm never allowed to see. The reason that I don't include Julie Cerise is that her photos seem more to talk about moments of experience that women encounter, not the female interior or community of emotion, but I point in time or experience. In particular Saya Chontang's photos, I know that these aren't women simply posing to try and look attractive or sexy for a man, but they still have that womanly sensuality to them that is so foreign to most men. Maybe we feel it at times, and maybe it is being able to see these moments and experience this feeling in these photographs that can help us understand you (addressing the collectivity of women), but it moves a part of me that doesn't get budged often, which is why I think I am so drawn to it.
Tuesday, April 3, 2012
Chapter 7: Photography and the Age of Electronic Imaging
So a couple of brief questions...
It is argued by some that the digital age is frightening because we are no longer able to distinguish between what is "real" and what is "created" because of the ease of manipulability. Others, however, counter this to say that photographic images have always been manipulated, and in fact even the simple choice of what to shoot and how one develops a photo is all manipulation. Because of this, should we draw a line in photography between the analog and the digital, because of some of the key differences such as binary coding replacing the film, or can an imaginary line limit the progress of photography?
Also, very simply, has the prevailing use of the digital cameras in surveillance and by the military enhanced our sense of security as a society, or does it on the contrary put us on edge, knowing that anything we do may and can be recorded without another human physically present? 1984 much?
peace and love
It is argued by some that the digital age is frightening because we are no longer able to distinguish between what is "real" and what is "created" because of the ease of manipulability. Others, however, counter this to say that photographic images have always been manipulated, and in fact even the simple choice of what to shoot and how one develops a photo is all manipulation. Because of this, should we draw a line in photography between the analog and the digital, because of some of the key differences such as binary coding replacing the film, or can an imaginary line limit the progress of photography?
Also, very simply, has the prevailing use of the digital cameras in surveillance and by the military enhanced our sense of security as a society, or does it on the contrary put us on edge, knowing that anything we do may and can be recorded without another human physically present? 1984 much?
peace and love
Friday, March 30, 2012
Richard Mosse and the DRC
http://www.richardmosse.com/photography.php?pid=1
I can't even evoke words right now for the images that Richard Mosse has produced over the conflict in the DRC, Congo, and surrounding areas. These photographs are more than images for me, they are personal. I've been involved with an organization called Invisible Children, and a sister organization called Unified for UNIFAT, both of which deal with the conflict that arose in Northern Uganda over 25 years ago between the Government of Uganda and a rebel army, the LRA. The rebel leader, Joseph Kony, has been creating devastation for over 25 years in unspeakable manners; massacre, rape, pillaging, and worst of all, the abduction of children to be his defense as soldiers. Over the course of his terror, he has abducted between 30,000 to 60,000 children, displaced millions, and been the rotting root which has made fallow the lands from Northern Uganda to South Sudan, the DRC, Eastern Congo, and more. You may have seen the recent video title Kony 2012 produced by Invisible Children, as it became viral with over 50 million people having viewed it in just a number of days. Here are the links to the two sites:
www.invisiblechildren.com
www.unifiedforunifat.com
So, Richard Mosse's photos speak to my heart, but that is not the only reason that I find myself so drawn to them. If you don't read about his process, you'll see groups of soldiers and civilians and landscapes all surrounded by pink and red shades, in the foliage and on their clothing. It seems like a strange choice to highlight conflict by literally highlighting the photos. But the reason that appear as so is that Mosse used a type of film called Kodachrome, which is often used by the military to see the unseen, as sort of metaphor for the conflict in general which has been going on for so long yet has only now really become public. His work is photojournalistic, but it has an elegance and form to it which pays attention to the contours of the mountains in the background and the blue skies which battle to take over the pinkish glow.
http://www.richardmosse.com/photography.php?pid=1&photo=3
http://www.richardmosse.com/photography.php?pid=1&photo=6
These two photos just tear me apart. I don't want to say anything about them. These really are photos that I can say speak for themselves. I give Richard Mosse my highest complements both for his willingness to place himself in a war zone which is uncertain and dangerous, as it resides in the 'bush', hidden away, but also for the photos he has chosen to put on his website and willingness not to hide the brutal details that most of us never want to see, but are more than reality for the peoples of this conflict, mostly innocent and constantly in fear. His other works on Iraq including some short films he's put together are quite amazing too. To your safety while work Richard Mosse.
I can't even evoke words right now for the images that Richard Mosse has produced over the conflict in the DRC, Congo, and surrounding areas. These photographs are more than images for me, they are personal. I've been involved with an organization called Invisible Children, and a sister organization called Unified for UNIFAT, both of which deal with the conflict that arose in Northern Uganda over 25 years ago between the Government of Uganda and a rebel army, the LRA. The rebel leader, Joseph Kony, has been creating devastation for over 25 years in unspeakable manners; massacre, rape, pillaging, and worst of all, the abduction of children to be his defense as soldiers. Over the course of his terror, he has abducted between 30,000 to 60,000 children, displaced millions, and been the rotting root which has made fallow the lands from Northern Uganda to South Sudan, the DRC, Eastern Congo, and more. You may have seen the recent video title Kony 2012 produced by Invisible Children, as it became viral with over 50 million people having viewed it in just a number of days. Here are the links to the two sites:
www.invisiblechildren.com
www.unifiedforunifat.com
So, Richard Mosse's photos speak to my heart, but that is not the only reason that I find myself so drawn to them. If you don't read about his process, you'll see groups of soldiers and civilians and landscapes all surrounded by pink and red shades, in the foliage and on their clothing. It seems like a strange choice to highlight conflict by literally highlighting the photos. But the reason that appear as so is that Mosse used a type of film called Kodachrome, which is often used by the military to see the unseen, as sort of metaphor for the conflict in general which has been going on for so long yet has only now really become public. His work is photojournalistic, but it has an elegance and form to it which pays attention to the contours of the mountains in the background and the blue skies which battle to take over the pinkish glow.
http://www.richardmosse.com/photography.php?pid=1&photo=3
http://www.richardmosse.com/photography.php?pid=1&photo=6
These two photos just tear me apart. I don't want to say anything about them. These really are photos that I can say speak for themselves. I give Richard Mosse my highest complements both for his willingness to place himself in a war zone which is uncertain and dangerous, as it resides in the 'bush', hidden away, but also for the photos he has chosen to put on his website and willingness not to hide the brutal details that most of us never want to see, but are more than reality for the peoples of this conflict, mostly innocent and constantly in fear. His other works on Iraq including some short films he's put together are quite amazing too. To your safety while work Richard Mosse.
Tuesday, March 27, 2012
Chapter 6: Photography as Art
The role of photography within the world of what we consider 'art' is quite interesting. It seems as if the works that people have produced in the past, even that which we today recognize as being quite revolutionary or beautiful, was not accepted as art until recently, rather it was still part of this mechanical process from which a photograph is produced. I don't really come from a background of art history and still couldn't tell you the difference between a modern or post-modern work, but I think there are still some interesting questions that can be asked even by the ignorant.
There are a couple of chapters which focus on both feminist art and black art, and how they have grown within the community and photography. These sections were only briefly touched upon, but still, does the labeling of such a piece of work as 'feminist' or 'black' art have a destructive connotation to them, as it separates an 'us' from 'them'? Of course, people who are women or African American certainly have to deal with different issues every day that the rest wouldn't have to encounter, but is this still counter-productive for their movements? And who labels these as specific types of art? Is it the artist themselves or more often is it a label placed on them from the external world?
The second question I have is about the role of curators for the art world. "It has been suggested that curators more often act more as 'creators'" (Wells:301) Even though much or art exists outside of the galleries and museums today, the museum is still often seen as being the location where an artist has reached his or her epitome, and that they have been accepted within this new social circle or true artists. If this is then controlled by the curators more often than not, who might even direct the photographers to bring them something specific by funding them, where does the power or aesthetic of the art lie? Can we say that it comes from the artist and their abilities? Or do these curators slice down other works by truly talented people who are simply not respected or don't fulfill the desires and notions of these people in control of what enters the gallery? What message does this send to rising photographers, should they strive for museum status or does that simply make them a part of the status quo?
There are a couple of chapters which focus on both feminist art and black art, and how they have grown within the community and photography. These sections were only briefly touched upon, but still, does the labeling of such a piece of work as 'feminist' or 'black' art have a destructive connotation to them, as it separates an 'us' from 'them'? Of course, people who are women or African American certainly have to deal with different issues every day that the rest wouldn't have to encounter, but is this still counter-productive for their movements? And who labels these as specific types of art? Is it the artist themselves or more often is it a label placed on them from the external world?
The second question I have is about the role of curators for the art world. "It has been suggested that curators more often act more as 'creators'" (Wells:301) Even though much or art exists outside of the galleries and museums today, the museum is still often seen as being the location where an artist has reached his or her epitome, and that they have been accepted within this new social circle or true artists. If this is then controlled by the curators more often than not, who might even direct the photographers to bring them something specific by funding them, where does the power or aesthetic of the art lie? Can we say that it comes from the artist and their abilities? Or do these curators slice down other works by truly talented people who are simply not respected or don't fulfill the desires and notions of these people in control of what enters the gallery? What message does this send to rising photographers, should they strive for museum status or does that simply make them a part of the status quo?
Monday, March 26, 2012
Some Classmates
Okay so I decided this week to post about some of the work that my classmates have been working on because hey, they're awesome peoples and I am really enjoying watching each of them develop their projects.
http://akahshic.wordpress.com/
This first classmate (whom I'll leave anonymous because I didn't see his/her name on the site) has been doing some very interesting work looking at the commodity culture and the idea of the simulacra that is in the world all around us. The most recent post she made is a series of photos from a Florida mall where she is peering into shop windows and catching reflections. This image in particular (http://akahshic.wordpress.com/2012/03/26/wip-3/2_1015941/) is awesome not only because of how it was shot and the clarity she was able to get from a ridiculous fantasy-world, but also because she told me that the reflection she captured in the window of a victoria's secret model was completely accidental. It's great going back through photos and realizing what you did or didn't think you captured is actually so much better than you could have imagined. If you look at some of her earlier work in the blog I don't think it would be a stretch to comment on how much she has improved in terms or not only capturing the concept but also framing, form, color, the whole nine-yards (where the hell did that phrase come from, the whole 27 feet? what's 27 feet long besides an anaconda?). Anyhow, she's doing awesome and ya'll should certainly give her your support by checking her page.
http://paolabonninszendrey.wordpress.com/
This second student is also another one who has really really stepped it up a notch (why not a stair? why am I critiquing phrases right now as much as photographs?) Paola is looking at doing portraits of people, but not in the conventional set it up and snap it way, but instead through the passing and fleeting moments that we see for a minute and later vanish from our busy minds. The difficulty with this project is that in order to make a portrait, it implies that one captures something with quality and grace, but also that you don't include too much distraction in the photo. Yet when we're interacting with one another, that is precisely what is present, a lot of clutter, conversation, movement, and general hullabaloo. Yet Paola, especially in this most recent series, seems to really have figured out "okay, this is how I can make it happen." A couple of the photos really stand out to me in particular. The first is the one which she has chosen to edit in two ways, the one being in color with the background content visible and the second is without everything behind the boy. The look on his face is priceless, he just seems like the type of kid you want to get to know. The framing is nicely placed on the side, and color and tonal ranges seem to be well balanced, such as the shadows on his cheek. The way she has chosen to edit the two differently really changes what is going on with the scene. With the background, it is still a comfortable photograph for me to look at, as it looks like he could be at some holiday party where he said something out of the blue that he shouldn't have (okay I get the phrase out of the blue). The second, however, with the background blacked out, is almost eerie and chilling. He's still an adorable boys, but now one has the freedom to place him where ever they would like, and I can definitely see a scary movie scene unfolding in this moment, but don't worry, the kid's too cute to die in this film. As far as what she chooses to do is up to how she wants to represent the photographs. The second is of a kid lying down with a leather jacket on. I just can't get over the expression he is making. It's one of those that can be interpreted in many different ways, which is why I think it's so interesting. He could by lying in the sun ad just wrinkled his forehead, maybe he has a headache, maybe his girlfriend just dumped him (appropriate for a man in leather), maybe he just got laid out during a fight, the list in my head goes on and on, which is why I like it so much. It's not simple and straight forward. Here's a link to that one http://paolabonninszendrey.wordpress.com/2012/03/26/work-in-progress-critique-3/dsc_6606/ . With all of that said, I think that Paola has got a groove and I hope she keeps jamin on it!
Lastly, saw this link on another classmate/friends site and I think it's important to see...
http://designtaxi.com/news/351405/Haunting-Portraits-Of-The-Homeless/?utm_medium=referral&utm_source=pulsenews
peace and love
http://akahshic.wordpress.com/
This first classmate (whom I'll leave anonymous because I didn't see his/her name on the site) has been doing some very interesting work looking at the commodity culture and the idea of the simulacra that is in the world all around us. The most recent post she made is a series of photos from a Florida mall where she is peering into shop windows and catching reflections. This image in particular (http://akahshic.wordpress.com/2012/03/26/wip-3/2_1015941/) is awesome not only because of how it was shot and the clarity she was able to get from a ridiculous fantasy-world, but also because she told me that the reflection she captured in the window of a victoria's secret model was completely accidental. It's great going back through photos and realizing what you did or didn't think you captured is actually so much better than you could have imagined. If you look at some of her earlier work in the blog I don't think it would be a stretch to comment on how much she has improved in terms or not only capturing the concept but also framing, form, color, the whole nine-yards (where the hell did that phrase come from, the whole 27 feet? what's 27 feet long besides an anaconda?). Anyhow, she's doing awesome and ya'll should certainly give her your support by checking her page.
http://paolabonninszendrey.wordpress.com/
This second student is also another one who has really really stepped it up a notch (why not a stair? why am I critiquing phrases right now as much as photographs?) Paola is looking at doing portraits of people, but not in the conventional set it up and snap it way, but instead through the passing and fleeting moments that we see for a minute and later vanish from our busy minds. The difficulty with this project is that in order to make a portrait, it implies that one captures something with quality and grace, but also that you don't include too much distraction in the photo. Yet when we're interacting with one another, that is precisely what is present, a lot of clutter, conversation, movement, and general hullabaloo. Yet Paola, especially in this most recent series, seems to really have figured out "okay, this is how I can make it happen." A couple of the photos really stand out to me in particular. The first is the one which she has chosen to edit in two ways, the one being in color with the background content visible and the second is without everything behind the boy. The look on his face is priceless, he just seems like the type of kid you want to get to know. The framing is nicely placed on the side, and color and tonal ranges seem to be well balanced, such as the shadows on his cheek. The way she has chosen to edit the two differently really changes what is going on with the scene. With the background, it is still a comfortable photograph for me to look at, as it looks like he could be at some holiday party where he said something out of the blue that he shouldn't have (okay I get the phrase out of the blue). The second, however, with the background blacked out, is almost eerie and chilling. He's still an adorable boys, but now one has the freedom to place him where ever they would like, and I can definitely see a scary movie scene unfolding in this moment, but don't worry, the kid's too cute to die in this film. As far as what she chooses to do is up to how she wants to represent the photographs. The second is of a kid lying down with a leather jacket on. I just can't get over the expression he is making. It's one of those that can be interpreted in many different ways, which is why I think it's so interesting. He could by lying in the sun ad just wrinkled his forehead, maybe he has a headache, maybe his girlfriend just dumped him (appropriate for a man in leather), maybe he just got laid out during a fight, the list in my head goes on and on, which is why I like it so much. It's not simple and straight forward. Here's a link to that one http://paolabonninszendrey.wordpress.com/2012/03/26/work-in-progress-critique-3/dsc_6606/ . With all of that said, I think that Paola has got a groove and I hope she keeps jamin on it!
Lastly, saw this link on another classmate/friends site and I think it's important to see...
http://designtaxi.com/news/351405/Haunting-Portraits-Of-The-Homeless/?utm_medium=referral&utm_source=pulsenews
peace and love
WIP 3
This week I struggled a little bit with going out and getting the photos that I wanted, or didn't find, I'm not really sure what you would consider it, but anyhow I still I think I came through with a couple of strong shots that represent my statement. To restate it, I am basically looking at things that represent construction and destruction, and I really really want to try and make shots that contain a duality or dichotomy within so that the message isn't simple or straight-forward. On the Blackboard, the couple that I find to be the best at representing this idea are the diptych of the telephone wire sign and the tombstone, and then the for sale sign with the trees reflecting it the show window. I won't say what I think about them in order not to impose my perspective before the critique (like anyone will read this 3 hours before class but hey), but I hope to hear some good feedback because I certainly need all the help I can get. Thanks ya'll.
peace and love
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