When looking back on project one, I feel like I have only scraped the surface of my topic. I shot at two locations, but only connected with one of them. Thus, I feel like I could definitely expand upon the scope/subject matter of my series.
The exposure of the photographs was originally a bit light, especially the posters. This was probably due to the the overhead fluorescent lighting. So, I increased the contrast slightly on all of the photographs and played with levels in order to fix the intensity of the poster/picture of the woman.
The composition of the photos is based in the idea of giving the viewer a glimpse into the overall mood of the shop, as well as the people who inhabit it. I liked that I was able to capture small details....snow globes, shampoo bottles, decorations on shelves. Such little extras lent to the character and appeal of the shop itself.
Ultimately, my project morphed into an exploration of beauty - beauty within the eyes of society and beauty within the eyes of individuals, specifically women. I didn't initially enter the salon with the intention of focusing on beauty. The subject revealed itself to me through the exploration of space.
Monday, March 17, 2008
In, Around, and Afterthoughts
Rosier's assertions concerning the legitimacy and purity of documentary photography are somewhat disconcerting. Her thoughts on modern photography seem to contradict the entire practice of documentary, claiming that images are now being utilized moreso to please the photographer, rather than identify cause for social change. It can be said that both agendas still fall into the category of documentary; where documentarians of old sought reform, we presently seek to merely identify.
Throughout the entirety of the article, Rosier struggles to find the definitive characteristics of a documentary photograph. She cites a variety of ambiguous instances in the history of photography in which the viewing population has had difficulty determining the overall purpose of the photographer, from staged images to photographs with no "polemic apparent". Of course, it can be argued that these are indeed documents, but she also argues, knowingly or not, that any still image can be identified as a document. In addressing this, she also addresses the main struggle of the contemporary documentarian.
Throughout the entirety of the article, Rosier struggles to find the definitive characteristics of a documentary photograph. She cites a variety of ambiguous instances in the history of photography in which the viewing population has had difficulty determining the overall purpose of the photographer, from staged images to photographs with no "polemic apparent". Of course, it can be argued that these are indeed documents, but she also argues, knowingly or not, that any still image can be identified as a document. In addressing this, she also addresses the main struggle of the contemporary documentarian.
Response to Rosler
In, around, and afterthoughts (on documentary photography) by Martha Rosler
Martha Rosler’s piece on documentary photography was very critical of the documentarian albeit accepting of the inevitability of documentarians photographing everything in sight. Overall, I enjoyed the text, but I thought she was a little bit too critical on the practice.
One of Rosler’s contentions is that documentary photography is to some degree unnecessary or wrong; she states, speaking of the New York Times story featuring documentary-style images from Walker Evans, that the reader learns that “the poor are ashamed of having been exposed as poor, that the photos have been the source of festering shame. That the poor remain poorer than we are, for although they see their own rise in fortunes, their escape from desperate poverty, we Times readers understand that our relative distance has not been abridged; we are still doing much better than they.” (page 4)
However, Rosler includes the other side of this argument, which is Szarkowski’s quote that the documentary photographer’s “aim has not been to reform life, but to know it.” (page 5) Rosler comes back again criticizing Szarkowski’s allowance of moral separation from the subject (namely in the case of Vietnam War photographers)
Rosler’s other thought is that “[t]he credibility of the image as the explicit trace of the comprehensible in the living world has been whittled away,” as exemplified by the story of the staged picture by Erwitt. (page 4) Though she compliments his apparently evident photographic ability, she jabs at the fact that "[t]he man pedaled back and forth nearly 30 times till Erwitt achieved the ideal composition.
mikey smith
Martha Rosler’s piece on documentary photography was very critical of the documentarian albeit accepting of the inevitability of documentarians photographing everything in sight. Overall, I enjoyed the text, but I thought she was a little bit too critical on the practice.
One of Rosler’s contentions is that documentary photography is to some degree unnecessary or wrong; she states, speaking of the New York Times story featuring documentary-style images from Walker Evans, that the reader learns that “the poor are ashamed of having been exposed as poor, that the photos have been the source of festering shame. That the poor remain poorer than we are, for although they see their own rise in fortunes, their escape from desperate poverty, we Times readers understand that our relative distance has not been abridged; we are still doing much better than they.” (page 4)
However, Rosler includes the other side of this argument, which is Szarkowski’s quote that the documentary photographer’s “aim has not been to reform life, but to know it.” (page 5) Rosler comes back again criticizing Szarkowski’s allowance of moral separation from the subject (namely in the case of Vietnam War photographers)
Rosler’s other thought is that “[t]he credibility of the image as the explicit trace of the comprehensible in the living world has been whittled away,” as exemplified by the story of the staged picture by Erwitt. (page 4) Though she compliments his apparently evident photographic ability, she jabs at the fact that "[t]he man pedaled back and forth nearly 30 times till Erwitt achieved the ideal composition.
mikey smith
In, Around, and Afterthoughts
Martha Rosler focuses on the legitimacy of present day documentary photography. She compares contemporary photographs (that which are posed, manipulated or "camouflaged") to past photographs solely used for "artless" documentation. Rosler believes that photographs now are infected with the agenda of the photographer and are put to use by swaying the populations' beliefs towards the beliefs of the elite. "A new generation of photographers has directed the documentary approach toward more personal ends."
Rosler uses the example of "drunks" to expose the contemporary images are influencing the public in the "wrong" way. These images (according to her) put the blame on the subject (the "drunks") in order to keep the unemployment rate, as well as many other socio-political/economical standards, in check. These photographs make an example of the poor and unfortunate, and subtly pose a warning to the public. For these reasons documentary photography is not "real" and still has a long way to go before it can "cure" social injustices.
Rosler uses the example of "drunks" to expose the contemporary images are influencing the public in the "wrong" way. These images (according to her) put the blame on the subject (the "drunks") in order to keep the unemployment rate, as well as many other socio-political/economical standards, in check. These photographs make an example of the poor and unfortunate, and subtly pose a warning to the public. For these reasons documentary photography is not "real" and still has a long way to go before it can "cure" social injustices.
Monday, March 3, 2008
ICP visit
International Center of Photography (visit 3/1/08)
What I liked most about the ICP was the innovative manner in which the artists displayed their works and the concepts behind the display. On the first floor was an exhibit of Barbara Blooms work. The concepts of her individual displays were fascinating to me, probably because I would not have thought to display my work in such interesting ways with all the many layers in the meanings. My favorite was the one entitled “Songs” which was a presentation of sheet music on plane metal music stands that displayed small pictures, not notes, on the pages. The originality of all her displays impressed me and will be something I tuck away in my mind for future reference.
Hans-Peter Feldmann,
Born: Dusseldorf, Germany 1941
9/12 Front Page 2001
100 Newspapers
Dimensions Variable
The most powerful image(s) for me was an Installation: 9/12 Front Page 2001. Again, it was the thought process and concept behind the installation that intrigued me not just the specific image represented throughout. I read the artist statement first before I began to look at the walls of the installation. I started to choke up before I had even finished looking at the images on the first wall; I had two more walls to go. It was almost paralyzing to read over and over what the headlines were around the world. Some of the most powerful headlines were: USA today “US under attack"; Republic of Ireland "Horror in U.S. Leaves the World in Shock"; The Independent "Doomsday America"; The Wall Street Journal "Terror Assaults Stun U.S.".
The images on display were almost a repetitive pattern of the Twin Towers on fire in large color format. One of the few newspapers to choose to go with two smaller pictures was The Wall Street Journal. They chose one small picture of the twin towers on fire and another small picture of people fleeing the area in terror both images were in black and white. The walls of the installation room were painted black with the images in simple frames and displayed in three rows all the way around the room. By the time I reached the middle of the second wall I started to feel the sorrow I had that day. I recalled where I was and who I was with, how we stared glued to the images on the television and cried. I sat down for a while on the bench in the middle of the room; I composed myself by writing a few notes. I then continued and viewed the images staring at me on the third and final wall. I'm not sure what was more powerful the images, the words or the two combined; I believe it was in the combination.
How we see and remember events of the past are embedded as images in our brains, the images picked by the media. How the events of history are documented is how it is forever viewed. This installation had a very powerful effect on me and brought back the memories of that day. The installation had a very somber feel like a funeral and in the sense it was, a funeral of the past that resonated and defined the future.
It never would have occurred to me to use the front pages of newspapers as an instillation.
What I liked most about the ICP was the innovative manner in which the artists displayed their works and the concepts behind the display. On the first floor was an exhibit of Barbara Blooms work. The concepts of her individual displays were fascinating to me, probably because I would not have thought to display my work in such interesting ways with all the many layers in the meanings. My favorite was the one entitled “Songs” which was a presentation of sheet music on plane metal music stands that displayed small pictures, not notes, on the pages. The originality of all her displays impressed me and will be something I tuck away in my mind for future reference.
Hans-Peter Feldmann,
Born: Dusseldorf, Germany 1941
9/12 Front Page 2001
100 Newspapers
Dimensions Variable
The most powerful image(s) for me was an Installation: 9/12 Front Page 2001. Again, it was the thought process and concept behind the installation that intrigued me not just the specific image represented throughout. I read the artist statement first before I began to look at the walls of the installation. I started to choke up before I had even finished looking at the images on the first wall; I had two more walls to go. It was almost paralyzing to read over and over what the headlines were around the world. Some of the most powerful headlines were: USA today “US under attack"; Republic of Ireland "Horror in U.S. Leaves the World in Shock"; The Independent "Doomsday America"; The Wall Street Journal "Terror Assaults Stun U.S.".
The images on display were almost a repetitive pattern of the Twin Towers on fire in large color format. One of the few newspapers to choose to go with two smaller pictures was The Wall Street Journal. They chose one small picture of the twin towers on fire and another small picture of people fleeing the area in terror both images were in black and white. The walls of the installation room were painted black with the images in simple frames and displayed in three rows all the way around the room. By the time I reached the middle of the second wall I started to feel the sorrow I had that day. I recalled where I was and who I was with, how we stared glued to the images on the television and cried. I sat down for a while on the bench in the middle of the room; I composed myself by writing a few notes. I then continued and viewed the images staring at me on the third and final wall. I'm not sure what was more powerful the images, the words or the two combined; I believe it was in the combination.
How we see and remember events of the past are embedded as images in our brains, the images picked by the media. How the events of history are documented is how it is forever viewed. This installation had a very powerful effect on me and brought back the memories of that day. The installation had a very somber feel like a funeral and in the sense it was, a funeral of the past that resonated and defined the future.
It never would have occurred to me to use the front pages of newspapers as an instillation.
Sunday, March 2, 2008
Response for 3/3/08 class
In, around, and afterthoughts (on documentary photography)
Martha Rosler’s 1981 essay seems to be a severely pessimistic view of documentary photography and how it is used and ultimately viewed. She focuses on how images are groomed for viewing for use in a magazine or newspaper and the meaning is altered so to sway its true intent. The meaning, according to her, has not only gone to the wayside but the images are viewed and forgotten about by the masses (mainly by the wealthy).
According to Rosler the documentaries of the 1960’s had more substance and meaning (to correct a social wrong..) which has been replaced by the more contemporary Diane Arbus type who’s work (according to Rosler) seems to exploit the odd or the unusual persona. The media has also changed the persona of a sidewalk drunk into a more palatable substance abuse user, changing the terminology with an image can change the viewers interpretation as well.
Weather it is a digital print being altered through Photoshop or a documentary about the plight of some-whatary the meaning can be altered by the photographer, publisher the viewer or all three and that will not change with time.
I’m sure I have said it before but the world probably needs to ingest not just more fiber for well being but a little moral fiber as well.
Martha Rosler’s 1981 essay seems to be a severely pessimistic view of documentary photography and how it is used and ultimately viewed. She focuses on how images are groomed for viewing for use in a magazine or newspaper and the meaning is altered so to sway its true intent. The meaning, according to her, has not only gone to the wayside but the images are viewed and forgotten about by the masses (mainly by the wealthy).
According to Rosler the documentaries of the 1960’s had more substance and meaning (to correct a social wrong..) which has been replaced by the more contemporary Diane Arbus type who’s work (according to Rosler) seems to exploit the odd or the unusual persona. The media has also changed the persona of a sidewalk drunk into a more palatable substance abuse user, changing the terminology with an image can change the viewers interpretation as well.
Weather it is a digital print being altered through Photoshop or a documentary about the plight of some-whatary the meaning can be altered by the photographer, publisher the viewer or all three and that will not change with time.
I’m sure I have said it before but the world probably needs to ingest not just more fiber for well being but a little moral fiber as well.
In, Around, and Afterthoughts
In this article, Martha Rosler critiques pieces tracing the ways in which photography's aesthetic social practices fail or succeed in generating collectively meaningful work. She believes that Documentary photography does not necessarily exist yet and what does exist is set up scenes generated to be what people want to see, and what photographers can sell. In her opinion work that not only takes into account the political conditions within which it was produced and assumes social and political responsibility but also activates the viewer. She describes work in which existing urban photography's ability to continue documentary photography's historical work is questioned, and in, around, and afterthoughts. She believes that when photography can make change, that is when Documentary photography can truly be acknowledged.
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