I’m doubling down right now on the weekly updates as I’ve been a bit frazzled lately. Not only has school been understandably time consuming but also:
So that’s been a lot to handle too.
End of year work on my school plate includes :
– Write a 20 page paper or make a photo book (must be meta…a photo book that in someway addresses the issues we have discussed about photo books).
– Make 10 exhibition quality prints.
– Finish up a few projects for Visible, Invisible.
– Write a 5 page paper / design a syllabus.
– Write an artist statement and prepare work from this past year for year-end review.
So…that’s what I have going on. Moving forward to the past two weeks…
In Digital Imaging we had to create an image that used four elements provided by the teacher: a bowl, some fruit, a table, a table cloth.
I put the fruit in the bowl using masks and then put that on the flag which I made from the table cloth. I used the warp tool to bend it a bit. I used the table legs to make the barriers on the beach which I had turned into smart objects to scale and work with. All the other pieces are from the internet:
In History of The Book Week 27, we talked about conceptual photo books. Readings for the week:
Badger and Parr “The Photobook: A History – Volume 2“, Chapter 4
From “The Photography Reader” ed. Liz Wells:
– introduction to Part Four, pp 148 -151
– Solomon-Godeau, Abagail, Winning The Game When The Rules Have Changed: Art Photography and Post-Modernism, pp 152 – 163
– Grundberg, Andy, The Crisis of The Real, pp. 1674 – 180
– Metz, Christian, Photography and Fetish, pp 138 – 147
– Schjeldahl, Peter. “Alien Emotions” The New Yorker (New York), May 4, 2009.
– Knight, Christopher, “Interview with John Baldessari” Interview from April 4, 1992 for the Archives of American Art, Smithsonian Institution
– Buchloh, Benjamin H. D., et. al. Gerhard Richter. Atlas: The Reader
– A Good ArtInfo interview with Richard Prince
– Spector Nancy, Richard Prince, Guggnheim Museum catalog, read essays by Spector, Phillips and Brooks
– Lewitt, Sol, Autobiography, Multiples, New York, 1980 (find in SVA library rare books or at MoMA)
– Boltanski, Christian, Christian Boltanski, Phaidon, New York, 1997,
– Wolf, Sylvia, Ed Ruscha Photography, Whitney Museum of American Art, 1999
– Hoffman, Fred, Chris Burden, Locus + , New York, 2005
– Halbreich, Kathy, ed. The Last Picture Show, Walker Art Center, various authors and artists, Minneapolis, 2003
For Week 28, we each had to bring in a few examples of websites that we thought were in someway related to the future of photo books.
Some of the sites we looked at:
ZING!!!! – While writing this post, I have the tv tuned to The Colbert Report and there’s an interview with David Shields about his new book “Reality Hunger: A Manifesto” which is made up of uncited quotes. Shields questions being bound to 19th Century literary standards and why literary works are held to stricter standards regarding appropriation than visual arts:
In Visible, Invisible we have been given two additional projects:
Address the notion of time, inspired by your: Vision, Experience, Understanding. How it resonates in your life. Any media can be employed, in time.
“Things are not what they seem nor are they otherwise.” – Buddha
“The True Mystery of the world is what can be seen and not the invisible” – Oscar Wilde
“Things are exactly the way they are meant to be” – Christopher Isherwood
A few of the images we’ve looked at:
About “Saut Dans Le Vide” from Wikipedia:
Klein is also well known for a photomontage, Saut dans le vide (Leap into the Void)  , originally published in the artist’s book Dimanche, which apparently shows him jumping off a wall, arms outstretched, towards the pavement. Klein used the photograph as evidence of his ability to undertake unaided lunar travel. In fact, “Saut dans le vide”, published as part of a broadside on the part of Klein (the “artist of space”) denouncing NASA’s own lunar expeditions as hubris and folly, was a photomontage in which the large tarpaulin Klein leaped onto was removed from the final image.
Klein’s work revolved around a Zen-influenced concept he came to describe as “le Vide” (the Void). Klein’s Void is a nirvana-like state that is void of worldly influences; a neutral zone where one is inspired to pay attention to ones own sensibilities, and to “reality” as opposed to “representation”. Klein presented his work in forms that were recognized as art—paintings, a book, a musical composition—but then would take away the expected content of that form (paintings without pictures, a book without words, a musical composition without in fact composition) leaving only a shell, as it were. In this way he tried to create for the audience his “Zones of Immaterial Pictorial Sensibility”. Instead of representing objects in a subjective, artistic way, Klein wanted his subjects to be represented by their imprint: the image of their absence. Klein’s work strongly refers to a theoretical/arthistorical context as well as to philosophy/metaphysics and with his work he aimed to combine these. He tried to make his audience experience a state where an idea could simultaneously be “felt” as well as “understood”.
Rounding out the update is Right Here, Right Now.
Week 27 dealt with installations. Some of the artists/works mentioned:
And in Week 28 we looked at some artists from China:
We looked a bit more in depth at Zhang Huan, Rong Rong and the East Village scene last semester HERE.
And that is what I’ve been up to for the past two weeks!