A quote for my top 10 on memory & photography

“We do not remember days, we remember moments. The richness of
life lies in memories we have forgotten.” - Cesare Pavese (Italian man of letters)
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Does this statement mean that photography becomes the search for
a composition that gives life to buried memories?
If so – I like that (most of the time) – Roger

Are photographs reminders to live in the now?

Found this wonderful ‘Mindfulness clock’ photo at the Emotion Machine site

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It reminded me of one of my better photos;

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What is it that we see when we look at a photograph – is it metaphor or mirror or window?

It was Barthes who raised doubt about the photograph as ‘a-thing-out-there’ -

“a photograph is always invisible: it is not it that we see…”

What is it that you are actually seeing when you look at a photograph?  And is the experience one in which metaphor operates?   Is the photograph a metaphor, a mirror, a window, a ‘selection that changes ‘reality’ ‘ – or all of these?

I suspected that photographs can’t be metaphors, or if they can they are different to say metaphor in poetry.  Does the difference lie in the fact that our appreciation is language-dependent when encountering images as well as when hearing or reading a poem?

I wonder if all photographs are simply the evidence of the looking that another human being did – no more, no less?  Is that the bed-rock fact upon which to build our theory of reading a photograph and determining its worth/

As such the act of looking at/reading another person’s photograph’s is an act, more or less successful, of empathic or compassionate understanding.  Instead of walking in another person’s moccasins we are looking with another’s eyes.  No more no less?  I am partly motivated by the feeling that the theory of art photography is becoming impossibly complicated.

In searching ‘are photographs metaphorical?’ I immediately came across an article by Jane Ford about the contemporary photographer William Wylie HERE

Jane Ford’s article opens with;

Unititled, 2000.
Photo by William Wylie.

Making a photograph is symbolic. It is a representation, and in that, it stands for something,” William Wylie said. “The picture you create is not the same as the thing you photographed.

“I want the reverberation of the photograph, as an image of a subject that matters, to expand out to all aspects of our feelings and experience.”

In his work, Wylie focuses on themes and issues of landscape and place. His recent book, “RiverWalk: Explorations Along the Cache la Poudre River,” documents the last undammed river in Colorado. For more than four years Wylie chronicled the changing light along the 150-mile river, which runs from the Continental Divide to the Missouri River. At one point he spent 12 days hiking the entire river with his tripod and camera searching out and photographing areas that are often overlooked by the casual observer. The opening of Jane Ford’s article HERE

The phrase that leaps out to me is the last undammed river in Colorado. It is like the story of the death of the last wolf.  Who is damned in the damming?  Where will nature flow? etc.

William Wylie is also a member of the art faculty at the University of Virginia.  His portfolio is HERE

This is a photograph from Wylie’s series Stillwater;

Copyright William Wylie

I guess for the purposes of this appreciative article the words ‘rock, water, light, flow’ came to mind.  But, had I ‘switched off’ left-brain thinking, could I just have sensuously luxuriated in the feel of the light on the water, and the feeling of mega-powerful mass from the water?   And the strength of the rock in parting the water and maintaining its integrity – though eventually it will crumble.  The tonal-mass of the water reminds me of Roni Horn’s photographs of the River Thames and Joshua Cooper’s photographs of water.  (So what?)

I chose the photograph because of its simplicity and because it is so evocative of many readings of Japanese and Chinese, and Western, statements about human experience and the metaphor and archetypes of those philosophies.  A couple of examples of language-dependent metaphors, that inevitably condition the eyes with which I/we read a photograph, will suffice for now.

My two favourite haiku;

Shiki, Masaoka. (1867-1902).

The summer river:
although there is a bridge, my horse
goes through the water.

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A lightning flash:
between the forest trees
I have seen water.

Or the famous saying by Heraclitus; You could not step twice into the same river; for other waters are ever flowing on to you. ( It seems he said many other wise and beautiful things relevant to al the themes raised here, such as; Eternity is a child playing, playing checkers; the kingdom belongs to a child.)

For me, iceberg-like, metaphor is one-tenth common understanding – this is ‘a rock and a river’ – boom-boom, it is named.  But the 9/10 below the surface is the subjectvity operating from the infinite particularity of each person’s life-experience.

But perhaps in the case of (art) photographs the position is reversed. The ‘infinite mystery of particularity’ is what is immediate.  Photographs are not bits of the world, they are windows through which to cast light around the inner cave of being.  In which case photographs are very powerfully metaphorical – or at least they are triggers in the making of metaphorical meaning.

More spiritually each image is a gateway to the Infinite – some photographers create better gateways than others.

We are language-dependent, and culturally-dependent in our reading of photographs. It is a vast sea of largely unconscious language-knowledge that is evoked by an image. Sad-to-say we could not read fine photography without language-based cultural consciousness.

The key question is not Where is photography going?’ but ‘What changes are taking place in the activation of human consciousness as we encounter photographs now at the end of the 21st century’s first decade?’

Do we have to have a newer, better support language to prevent an impossible labyrinth of critical theory.? If art is confused and confusing is it not because of the talents of young artists but because of the non-sense and lack  of common-sense clarity by those who create the critical context in which artists function.  My ‘safe harbour’ is always re-newing our basic humanity.  We always were, are and will be creatures defined by our caring, our creativity and our criticality – experienced in various forms of community.

That is also my answer to those post-modernists who say there is no grand theory anymore.  Yes there is, and it is the same as its always been – its the story and grand theory of being human – in the world – with others.

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Jeff Wall – two stages in his work plus an extract from a lecture by him

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Marc Yankus – a painterly photographer

What has been your most positive experience in the realm of fine art?

MY: While working on my new series on the computer, I recently had to leave my studio to attend a concert. Outside while walking down a street, I realized that I was inside my own imagery as I noticed the shapes and lights of buildings in New York. I was terribly excited by this feeling. Outside was inside and vice versa. Interview HERE

I inevitably felt resonance with the, for me the newly discovered, Saul Leiter;

Marc’s site is HERE

ARTICLES:

From Seattle Post Intelligencer

Another blog about Marc Yankus

HERE

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2010 short-list for the Deutsche Börse Photography Prize.

The Photographers’ Gallery named the four shortlisted artists nominated for its annual Deutsche Börse Photography Prize.

The exhibition will be on display next year from 12 February until 18 April 2010, with the winner announced at a special award ceremony on 17 March 2010.

The four shortlisted artists are -

1)  Anna Fox

c Anna Fox – from her ‘Back to the Village’ project which observes the uniquely English rituals that take place in picturesque villages of Hampshire. Citing Sir Benjamin Stone as an influence, Anna is creating a collection of photographs documenting the customs – such as nativity plays, Halloween festivities and Guy Fawkes Night – that take place in thee villages. I can only find a couple of images on her website at the moment, including the one below.

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2)  Zoe Leonard

Sourc & more great photographs – Nicholas Buer says, Since the mid-1990’s, Zoe Leonard has subtly altered the content of her art practice, turning away from earlier enquires into gender and sexuality toward extended meditations on how the affects of time can manifest themselves in objects and the relationship between the man-made and the natural.

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3) Sophie Ristelhueber

Source – artnet.  Good article HERE

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4) Donovan Wylie

Source and article photographyblog

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Anna Fox (b.1961, UK) is nominated for her exhibition, Cockroach Diaries & Other Stories at Ffotogallery, Cardiff (28 July – 10 October 09), initiated by Impressions, Bradford.
Zoe Leonard (b.1961, USA) is nominated for her retrospective exhibition, ZOE LEONARD: Photographs, at the Pinakothek der Moderne, Munich (1 April – 5 July 09), initiated by Fotomuseum Winterthur.
Sophie Ristelhueber (b.1949, France) is nominated for her retrospective, Sophie Ristelhueber at the Jeu de Paume, Paris (20 January – 22 March 2009).
Donovan Wylie (b.1971, UK) is nominated for his exhibition MAZE 2007/8 at Belfast Exposed (27 March – 1 May 2009).

The Deutsche Börse Photography Prize 2010 is presented by The Photographers’ Gallery, London. The annual award of £30,000 rewards a living photographer, of any nationality, who has made the most significant contribution, in exhibition or publication format, to the medium of photography in Europe between 1 October 2008 and 30 September 2009.

This year’s Jury is:

Olivia Maria Rubio (Director of Exhibitions, La Fàbrica, Spain);

Gilane Tawadros (Chief Executive, Design Artists Copyright Society, curator and writer);

James Welling (artist, USA); and Anne-Marie Beckmann (Curator, Art Collection Deutsche Börse, Germany).

Brett Rogers, Director of The Photographers’ Gallery, is the non-voting Chair.

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Photography and words

Source

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The statement below seems to be a key one concerning images, or at least photography, and words.

Photography and words

The relationship between picture and word

Despite all claims or fears of the contrary, we do not live in a visual culture (see Reading images). The visuality of our culture is always text-based, or text-mediated. To put it bluntly: you will always need words to say that: “an image is stronger than thousand words”.

As Victor Burgin puts it, in an often quoted passage of his no less often quoted collection Thinking Photography:

“We rarely see a photograph in use which is not accompanied by writing: in newspapers the image is in most cases subordinate to the text; in advertising and illustrated magazines there tends to be a more or less equal distribution of text and images; in art and amateur photography the image predominates, though a caption or title is generally added. But the influence of language goes beyond the fact of the physical presence of writing as a deliberate addition to the image. Even the uncaptioned photograph, framed and isolated on a gallery wall, is invaded by language when it is looked at: in memory, in association, snatches of words and images continually intermingle and exchange one for the other; what significant elements the subject recognises ‘in’ the photograph are inescapably supplemented from elsewhere.”Burgin 1982: 192)

From PHOTHEREL

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Anna Fox and the The Deutsche Börse Photography Prize

The University of Wales Newport provides us with the following video and information’;

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In October 2009 Photographer Anna Fox spoke to photography students at University of Wales Newport about her work. The publication of her book, Anna Fox Photographs 1983-2007 published by Photoworks and edited by Val Williams formed the basis for this talk. The lecture was wide ranging and embraced the entire chronology of her practice; from work she made when she was a student of Martin Parrs and Paul Grahams at Farnham through to her most recent work made in her home village of Alton in Surrey.

The Deutsche Börse Photography Prize is an annual award of £30,000 for a living photographer, of any nationality, who has made the most significant contribution, in exhibition or publication format, to the medium of photography in Europe over the previous year.

Previous winners have included:

Paul Graham, UK (2009)
Esko Männikkö, Finland (2008)
Walid Raad /The Atlas Group, Lebanon (2007)
Robert Adams, USA (2006)
Luc Delahaye, France (2005)
Joel Sternfeld, USA (2004)
Juergen Teller, Germany (2003)
Shirana Shahbazi, Iran (2002)
Boris Mikhailov, Ukraine (2001)
Anna Gaskell, USA (2000)
Rineke Dijkstra, The Netherlands (1999)
Andreas Gursky, Germany (1998)
Richard Billingham, UK (1997)

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John Lennon, Hafiz, Jane Bown & the light of the soul

Two items came my way today – one portrait, following on from yesterday, and one quotation.  I present them with little comment.

Jane Bown brought out the beauty and sensitivity of John Lennon exquisitely;

“John Lennon”, 1967 ©Jane Bown – Source

The Persian poet Hafiz;

“I wish I could show you when you are lonely or in darkness the astonishing light of your own being.”

Jane Bown – great simplicity, great empathy, great photographs

The following video is a wonderful interview showing a range of Jane Bown’s work and recollections about her work and the great and good who she photographed;

Jane Bown worked for the Observer newspaper from 1949.

Many of her portraits are so  wonderful that you feel you are in the  presence of the subject – and that the essence of the character of the subject is being revealed via the photograph.

For example her portraits of John Lennon are exquisitely sensitive and beautiful – so many of the photographs of him had veneers of stupidity.  I suspect that this was often John fooling to cope with the stupidity of many of those with whom the four had to deal.

Photo from Wikipedia

Jane Bown’s portraits collectively tell us a lot about her as a person as well as about her as a photographer.

If you want to know more about Jane Bown start HERE or via The Guardian newspaper HERE