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Posts Tagged ‘art’

Wall1This is a text I wrote for the Pact Of Disengagement event that took place at Temple Bar Gallery and Studios back in May, which Teresa Gillespie and Ben Woodard kindly invited me to be part of. The idea was to explore the question of the nature of the relationship between art and philosophy, or as Teresa and Ben put it, their ‘mutual abuses’. I was one of a panel of speakers (Paul Ennis, Francis Halsall, Matthew Slack, Edia Connole, Jonathan Mayhew, Micheal O’Rourke, Rob Murphy, Lily Cahill and Tina Kinsella), each of whom had five minutes to articulate some thoughts on the subject. This text was written to be ‘read out’, rather than ‘read’, so you could always read it aloud to get the full effect

I am going to talk about this idea of abuse – the notion that more often than not art and philosophy are engaged in a form of mutual abuse that is not particularly constructive. Abuse of philosophy by artists. Abuse of art by philosophers. I’m going to suggest though that maybe abuse isn’t always bad and that we might take, not an uncritical view of it, but at least a view that is open to the possibilities that such abuse might present. I’m going to largely confine myself to artists abusing philosophy rather than the other way around. (more…)

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I’ve spent a large proportion of my life listening to bands, going to see bands, playing in bands, so this project of mine is a natural way of extending that interest (obsession?) into photography. However, I was adamant when starting it that it should not be just about the music I like. This is about exploring how performances manifest themselves visually through extended time exposure photographs and so it should not matter at all what sort of music is being performed, whether it is any good or not, or whether I like it or hate it. (more…)

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Most gigs I go to have one, if not two, support bands. I wondered early on whether to try and shoot both acts, or just concentrate on the main attraction. The problem is that two different bands, on the same night, will share a lot of equipment, so there are similarities between the resultant pictures. The one above is of the excellent Subplots, who opened up for Retribution Gospel Choir (see previous post). Looking at both shots is like playing spot the difference – or maybe more accurately spot-the-similarity. If you look at them both you’ll see that they are sharing the same drum kit, and bits of the RGC back-line are visible behind Subplots. (more…)

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This post is something of a departure from the usual business on this blog. It is an essay I wrote on Paul Seawright, focusing in particular on his Invisible Cities work. This work comprises of photographs taken over a three-year period in sub-Saharan African cities. In many senses the work goes against the grain of common photographic representations of Africa. I describe the work and deal with a number of issues that arise from it. The essay is quite long, so I’ll split it into two parts. This is part one.

Photographic representations of Africa tend to be dominated by certain well- worn themes. We have the photo-journalistic images of war, disease and famine – portraying a continent riven by seemingly intractable problems and a living hell for its inhabitants. We have the ma jestic grandeur of the landscape and the animals – suggesting a timeless, Edenic paradise. We have the National Geographic style portrayals of indigenous tribespeople, often accompanied by well-meaning articles describing how their “way of life” is under threat. A pertinent illustration of this can be had by typing “Africa”‘ as a keyword into Google’s image search facility. The majority of results returned are maps of Africa, but if we exclude these, almost all of the rest fit into the categories mentioned above. Those that don’t form minor categories of themselves: smiling schoolchildren; white aid workers or volunteers interacting with Africans; and most interestingly, images illustrating the growing influence of China in sub-Saharan Africa. None of these do much to expand the outsiders knowledge of, or insight into, the continent.

Paul Seawright’s Invisible Cities comprises of photographs taken in the sub-Saharan cities of Lagos, Addis Adaba, Lusaka and Johannesburg, and goes very much against the grain of these common representations. Seawright is, of course, not the only photographer working in this manner. A close parallel would be the work of Guy Tillim who has carried out similar projects on urban Africa. In fact, there is a growing body of contemporary African photography that challenges the common representations – for example, the Snap Judgements exhibition held in New York in 2006. I do suggest however, that such work is the exception rather than the rule. (more…)

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In this essay, written in 1995, Lev Manovich explores the ramifications of digital technology and photography. He asks if such a thing as digital photography really exists, and to what extent this really differs from traditional photographic practice.

Manovich starts by referring to a range of digital innovations that have transformed the practice of image production and manipulation, innovations that would lead most people to the conclusion that the fundamental nature of the photograph has radically changed.  The aim of his essay is to question whether this is really the case, and to expose a number of paradoxes at the heart of digital photography that become apparent when we attempt such questioning. His position is that it does not – that, in fact, digital photography does not exist.

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This essay appears in Solomon-Godeau’s Photography At The Dock collection. It deals with a number of post-modern photographic artists, explaining their work, and situating it in opposition to the established canon of modernist art photography. It is deeply critical of many of the fundamental assumptions of modernist photography that would have been elaborated in the work of critics such as John Szarkowski.

Solomon-Godeau begins by noting the extent to which the use of pastiche, in the sense of the appropriation of previously existing styles and work, has become dominant in both the art world and in popular mass media. In tandem with this, much criticism has been leveled at previously sacrosanct notions of the value of originality and authorial autonomy, and many artists are using pastiche as a means of questioning and probing these issues. At the time of writing, not much of this had reached the art photography world though, where most work was still reliant on traditional modernist notions: a key one being that an art photograph functions as an expression of the photographer’s interior, a vehicle for his/her thoughts, feelings and so on. The reason for this can be thought of as an insecurity at the heart of art photography. It had only recently received full status as an art form, and having done so on the back of precisely those modernist notions that post-modern artists are currently questioning. It is therefore reluctant to abandon, or even question, those notions that were integral to the elevation to its current lofty status.

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John Szarkowski’s book The Photographers Eye was based on an exhibition of the same name held at the Musuem Of Modern Art in New Work in 1964. It featured the work of Friedlander, Evans, Strand and many others, and attempted to give an overview of the fundamental challenges and opportunities of the photographic medium. In the introduction to the book, he offers a brief historical overview of photography in terms of how it has evolved and how he sees it as a unique artistic medium.

Szarkowski begins by stating a core tenet of his outlook on photography which is that it is fundamentally different from other picture-making processes in that it is based on selection rather than synthesis – the photographer takes elements of the real world for his picture, whereas the painter makes the elements of his picture from scratch. This immediately posed a new creative dilemma – how can this process be used to create meaningful pictures and valid art? This question would not be answered by means of recourse to existing theories of visual art, but instead tackled by a rag-bag consortium of commercial photographers, amateur enthusiasts and casual snap-shooters, who may not have been consciously trying to answer it at all, but nevertheless have managed to evolve an aesthetic practice that defines what photography is. (more…)

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Why Photography Matters As Art As Never BeforeI became interested in Michael Fried’s recent tome of photographic art criticism after reading an interview with him in Aperture magazine. I thought it would serve as good overview of the work of a whole assortment of contemporary  photographers. It certainly did that – and much more besides.

In 1967 Michael Fried published a controversial essay called ‘Art And Objecthood‘ where he trenchantly criticised the minimalist art of the time. His main concern was what he saw as the art world’s slide into theatricality. By this he meant the inclusion of the viewers experience of viewing an artwork into the meaning of the artwork itself – the explicit acknowledgment of the role and presence of the viewer (or beholder), and the shift in emphasis away from the intentions of the creator. Fried instead championed art (mostly Modernist and Abstract) which effectively ignored the role of the beholder, was complete in and of itself, and which functioned as a direct vehicle for the aesthetic concerns of the artist.

He went on to develop these ideas by way of a series of art history books which revealed the same concerns to be at the heart of developments in 18th century French painting. In particular, the anti-theatrical tradition sought to produce art which denied the presence of a beholder by producing work that portrayed people in states of absorption – turned away from the viewer and engrossed in some activity that demands their complete attention.

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In this article Levi-Strauss writes about the relationship between aesthetics and politics in social documentary photography and essentially mounts a defence of the role of the aesthetic within this genre.

He starts by observing that the right in America have always recognised the subversive, and deeply political role, of the aesthetic in art and this explains their hostility to it. On the other hand, left-wing critics and theorists (Rosler et al.) have made ubiquitous a view that denies a central role for aesthetics in genres such as documentary. An example of this in mainstream writing would be Ingrid Sichy’s criticism of Sebastiao Salgado, which upbraids him on numerous fronts, but in particular accuses him of being more interested in the aesthetics of his images than in the plight of his subjects.

Levi-Strauss identifies the roots of this viewpoint to be the writings of Walter Benjamin in the 1930s but denies that Benjamin’s criticisms are applicable to contemporary photographers such as Salgado. His basis for this is that Benjamin had in mind a particular movement (New Objectivity) which explicitly presented poverty and political struggle as objects of “comfortable contemplation”, whereas Salgado’s work shows real solidarity with his subjects and aims to confront viewers with the reality of hunger, tragedy and suffering. (more…)

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from Documentary Now! Contemporary Strategies in Photography, Film and the VisDocumentary Now!ual Arts

In this essay Maartje van den Heuvel examines the engagement of documentary photography with the art world and argues that we should consider this in the context of an increased visual literacy in our society, with documentary increasingly being used to hold a mirror to this visual culture.

Documentary photography has undergone radical changes in the last two decades as it has become increasingly appropriated into the art world.  Many people have questioned whether this signifies a new path for documentary and to what extent it can still function effectively in this new domain. Maartje van den Heuvel asserts that while these questions are continually under discussion, it is unwise to attempt to analyze this as an isloated phenomenon, but rather we should be considering it in the wider context of an ever-increasing visual literacy among our artists and our society as a whole.

She explains that our culture is becoming increasingly visual with an associated increase in visual literacy among viewers, consumers, image-makers and artists. Visually literate artists use visual means to analyze, reflect upon, and dissect all aspects of this visual culture and doumentary photography is but one aspect to be considered in this way. Contemporary artists who work in documentary photography are therefore often better understood as artists using the medium and conventions of documentary photography to examine documentary photography itself, along with it’s role in society and culture, rather than as documentary photographers pushing their work into the realms of art. The essay examines the work of documentary photographers with this in mind, and seeks to demonstrate that this signifies a general increase in visual literacy.

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