Lists of photographers
Edward Weston
Andrea Modica
Justine Kurland
Zoe Strauss
Garry Winogrand
Taryn Simon
Paul Strand
Alec Soth
Thomas Struth
KEN GONZALEZ-DAY
Tuesday, January 31, 2012
Sunday, January 29, 2012
Wells Reading Response
Chapter 1 in the Wells text may seem somewhat more historical and lacking the much of the critical artistic observation of photography, but I think that looking at how photography evolved into such a diverse field today is important, as well as the theoretical frames of mind that came to shape why we take certain photographs. One comment right at the beginning of this chapter, on page 13, states that we often think of these new technologies as the agents of social change, however, that we often forget that the development and desire to have this new technology is also a response to changes that were already taking place...
There are many other interesting points that are brought up throughout the stages of progress (?) that photography has moved through, but I'm going to go ahead and jump right to the case study of Lange's Migrant Mother. Aparently there is actually a documentary that is coming out about Lange and her life's work fairly soon, with interviews with her included, so it will be interesting to see after having read this analysis. But anyhow, there are many points made about how one might see the photograph and/or the photograph itself that I think is worth noting. The first, the photo as a testament, is a point of view that I have often had when I see photos of people in desperate or difficult situations. Yet, it is important to critically understand all the other facets of the photo, such as the photographer own perspective or reflection, which can reveal new information or strip away applied assumptions. The context of where the photograph is shown can really change how it is seen. This is going to come to my question for the chapter: If an exhibition was set up for an audience of people living in similar situations of poverty/pain/struggle around the world, how might this photograph convey it's message?
There's much more to say, but that's all for now folks.
There are many other interesting points that are brought up throughout the stages of progress (?) that photography has moved through, but I'm going to go ahead and jump right to the case study of Lange's Migrant Mother. Aparently there is actually a documentary that is coming out about Lange and her life's work fairly soon, with interviews with her included, so it will be interesting to see after having read this analysis. But anyhow, there are many points made about how one might see the photograph and/or the photograph itself that I think is worth noting. The first, the photo as a testament, is a point of view that I have often had when I see photos of people in desperate or difficult situations. Yet, it is important to critically understand all the other facets of the photo, such as the photographer own perspective or reflection, which can reveal new information or strip away applied assumptions. The context of where the photograph is shown can really change how it is seen. This is going to come to my question for the chapter: If an exhibition was set up for an audience of people living in similar situations of poverty/pain/struggle around the world, how might this photograph convey it's message?
There's much more to say, but that's all for now folks.
Google reader reviews
I apologize that this is coming in so late, rawr already getting caught up in the swing of college.
On that was just up on Lenscratch, a project by David Kimelman, I find really provoking. He's got a couple of new projects going on apparently, but the one I am attracted to, Natural Order, is quite interesting. He's photographing the interaction between Human and Nature, in both organic and synthetic contexts. There really is today such a distance that we've built up between ourselves and nature, to protect ourselves, to elevate ourselves on the food-chain, but at the same time we are always need Her and each of us, felt or not, has something drawing us toward Her, to look or to feel or to hear etc. So, this is what Kimelman is trying to show, the messed up sort of relationship we have with nature in all sorts of contexts. But I think this is most important to do in a world where we are constantly finding out what damage we've done and keep doing...
On Flak photo's site, there's a brief video clip of Keliy Anderson-Staley at her show opening. Her exhibition, called [Hyphen] Americans, is all photos that have been printed on Tintype, an old-school and tricky process. Therefore, her camera's then also had special functions, giving a very narrow depth of field, but also requiring the subject to remain still for a very long time. One of thing she said, which is find pretty humorous but can also maybe be quite revealing for us, is that this process of the taking the photograph then gave the individuals both and intense stare into the camera, trying to hold still, but also made them look very "stoic". The reason this is eye-opening is that we often see photos of our ancestors and think "Jesus Christ great-grandma looked so pissed off all the time", when in reality it's just the nature of the photograph. This brings up an interesting theoretical point that was in the Wells text, that what we are taking photos of isn't necessarily directly or faultlessly empirical. That which we see in our ancestors may be as we see it in that moment of time, not as they are in a relaxed setting where they are free to laugh and smile. I sort of noticed the same thing when I was in Peru, that many of the people, especially the older women, all of a sudden wanted to look very serious for photos, unless I begged them and danced on my head for a smile. They were all such loving and friendly people, but you'd have never known by some of the photographs.
On that was just up on Lenscratch, a project by David Kimelman, I find really provoking. He's got a couple of new projects going on apparently, but the one I am attracted to, Natural Order, is quite interesting. He's photographing the interaction between Human and Nature, in both organic and synthetic contexts. There really is today such a distance that we've built up between ourselves and nature, to protect ourselves, to elevate ourselves on the food-chain, but at the same time we are always need Her and each of us, felt or not, has something drawing us toward Her, to look or to feel or to hear etc. So, this is what Kimelman is trying to show, the messed up sort of relationship we have with nature in all sorts of contexts. But I think this is most important to do in a world where we are constantly finding out what damage we've done and keep doing...
On Flak photo's site, there's a brief video clip of Keliy Anderson-Staley at her show opening. Her exhibition, called [Hyphen] Americans, is all photos that have been printed on Tintype, an old-school and tricky process. Therefore, her camera's then also had special functions, giving a very narrow depth of field, but also requiring the subject to remain still for a very long time. One of thing she said, which is find pretty humorous but can also maybe be quite revealing for us, is that this process of the taking the photograph then gave the individuals both and intense stare into the camera, trying to hold still, but also made them look very "stoic". The reason this is eye-opening is that we often see photos of our ancestors and think "Jesus Christ great-grandma looked so pissed off all the time", when in reality it's just the nature of the photograph. This brings up an interesting theoretical point that was in the Wells text, that what we are taking photos of isn't necessarily directly or faultlessly empirical. That which we see in our ancestors may be as we see it in that moment of time, not as they are in a relaxed setting where they are free to laugh and smile. I sort of noticed the same thing when I was in Peru, that many of the people, especially the older women, all of a sudden wanted to look very serious for photos, unless I begged them and danced on my head for a smile. They were all such loving and friendly people, but you'd have never known by some of the photographs.
Monday, January 23, 2012
birth
Never made a blog before. Don't really spend much time on the fb. But I guess this can be a nice place for me to vent and share with whomever whatever I want. Kinda neat huh? This is mostly here because it has to be here (for class), but hey, yah never know, maybe this will expand I will delve myself into a life of internet browsing and constant output of nonsensical hodgepodge.
http://www.youtube.com/watch?v=SmSl49bTI1A
Recently saw this video and it makes me one of the cheeriest people in the world.
Chao for now.
¡paz y amor!
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