Although I have never met Zoe Strauss, she has been a long supporter of Pause, to Begin and we have long been a fan of what she creates and does, including her recently released USA Artist YouTube video. There are many notable quotes from the video but this hit a particular chord in my mind:
At 4 the show is done and that means that if people want to take the photographs, they can. It’s not a commodity in terms of, “I’m putting these up and then I’m going to take these down as if there’s some worth for that.” The worth is the moment in which they’re up – that 3 hour time period in which it’s all up and together.
Although I was not able to see as many films as I would have liked, I did have the opportunity to see The Way We Get By, Full Battle Rattle, and Red Gold. All of the films were visually and emotionally compelling, but Red Gold hit home particularly hard.
Taking place in Bristol Bay, Alaska, aka the home of the world’s largest sockeye salmon fishery, Red Gold focuses on how plans to construct the world’s largest mine, the Pebble Mine, threatens to forever negatively impact the fragile, 300 million dollar salmon industry and more importantly, the livelihoods of Alaskans and the future of Pacific Salmon as we know it.
If and when the mine is created, toxic mineral waste, also known as tailings, will be generated as copper and gold are mined from the earth. When this toxic waste ever enters the salmon watershed, the fish will immediately begin to die.
I say “when” and not “if” because there is no question that no matter how many precautions are set in place and environmental regulations established, the toxic waste will at one time or another enter this watershed and have an enormous, forever-negative impact on not only Bristol Bay, but also the world.
What can you do to stop the world’s largest open pit mine from being created and in turn protect the world’s salmon industry? Head over to Save Bristol Bay now.
Ethan and I are co-teaching Intro. to Digital Photography at the Maine Media Workshops this week. Tomorrow morning we are making a presentation on moving beyond the printed image and will be speaking about multimedia. Three of the pieces we’ll present are:Matt and Melissa Eich’s “Love in the First Person”, produced by MediaStorm.Alec Soth’s “Niagara”, produced by Magnum in Motion.Olaf Otto Becker’s “Greenland”, produced by Daylight Magazine.
Tom Dey and Coliena Rentmeester (a.k.a. Tom + Coliena) have produced a wonderful film titled “Autumn Album 5 Days in Prague” that highlights J.Crew’s 2008 fall clothing line.I find this short film interesting because of how well the locations, cinematography, and music work together.Prague is the location and includes numerous cafes, train stations, automobiles, vintage cameras, balloons, and of course, beautiful clothing. The cinematography is romantic, soft, and playful, and the music (Leona Naess‘ “Sunny Sunday”) is kind, loving, and youthful.Next week I will begin piecing together the Pause, to Begin trailer to be released on October 6th.Like Tom + Coliena did with their J.Crew film, Ethan and I are focused on specific tone and feeling for the Pause, to Begin trailer. We’ll be using footage for the trailer from our 10,000 mile road trip we made in May, 2008 to see the selected 15 photographers. Stay tuned.
Alan Winslow and Morrigan (Mo) McCarthy, two great friends of Pause, to Begin, are about to embark on a journey called Project Tandem that will take them bicycling across 10,000 miles of the American landscape over the course of 1 year.
Alan and Mo are not only traveling 10,000 miles to see the American landscape at 15 m.p.h., but more importantly to seek out, meet, interview, and publish unique stories about people in local communities doing eco-friendly things overlooked and unpublished by the mainstream media.
Both documentary photographers, Alan and Mo started Project Tandem because they “…believe that sharing the stories of everyday people stepping up to help the environment will bring awareness to the issue in a new way. You always hear stories in the news of people doing huge, amazing things for the planet, but we think that even the small actions need to be celebrated.”
Ethan and I are in the process of moving into new homes and starting back to our jobs, but stay tuned for Pause, to Begin updates and more regular blog posts during the coming weeks.
Sigur Ros’ new song, “Gobbledigook”, off of their forthcoming album Með suð í eyrum við spilum endalaust (English: With a buzz in our ears we play endlessly), sums up my excitement quite well regarding the coming weeks and months ahead. A long time listener and believer in the music Sigur Ros makes, it is fascinating to see them debut a song that is so different, yet so welcoming, from their previous creations.
In an effort to honor the annual college break that many of my friends still have, I decided to take my own spring break for the past two weeks. That may be why you have seen very little blogging.
Another reason is that many of these still-in-school friends decided that Maine is a popular spring break destination. I’m not sure how Maine became as popular as Florida among my friends, but I was happy to have the visitors. The conversations that ensued with them will be the stimulus for my blogging over the next few weeks. If there is anything that I miss about being in school it may be the photo/art conversations that can be had at a moments notice.
The first post I would like to make is in honor of last week’s visitor Rick Williamson (he has no website). We discussed at length the expectation of beauty in photography.
Before I get to anything about beauty, here is an anything-but-beautiful (and I think hilarious) photograph of Rick on the cover of RIT’s on campus magazine Reporter. The photo is taken by Tom Schirmacher.
Okay, on to the beautiful stuff…
Rick and I were noticing that nearly every portrait of someone under 40 makes them look beautiful. Perhaps this is simply the beauty of youth, but I don’t think so.
As a young male who looks at an awful lot of photographs, I often notice that I see images of beautiful women before I notice portraits of unattractive women. I began trying to look for unattractive women in art photography today, and I discovered that it is incredibly difficult to find any of it. I believe that the same problem exists for finding portraits of unattractive men as well.
I began to discuss the consequences of seeing an overwhelming majority of only attractive people in photographs with Rick. We came to the general conclusion that we are conditioned to want to see beauty before ugliness. It is as if it is natural to turn our cameras towards beautiful people. Maybe as photographers as a whole we are not as subjective as we would like to be when it come to photographing people.
It is interesting to mention that if we take people out of the frame altogether photographers seem to have no difficulties to point their cameras to some injustice; some “ugly” event or thing. When I mention injustice I am thinking of Edward Burtynsky’s photographs of nickel tailings and quarries and the harmed landscape in general. I am not thinking about war or combat photography at all in any part of this discussion on beauty. I am really looking at art photography specifically.
Below is one of Burtynsky’s photographs of nickel tailings titled Nickel Tailing No. 31.
To get back to the beauty in portraits and specifically in the subjects in the portraits. I think of Rineke Dijkstra’s portraits and many of the subjects are awkward and young, but because of the seem exposed to the lens and their youthfulness there is also an attractiveness about them. They are not sexy, but they are attractive standing there in the swimsuits looking at us at a young age. To me this is also similar to Hellen Van Meene’s portraits. Her subjects are young and awkward as well, but they too command attention in the frame with both presence and emotional frailty.
I am curious to better understand why we photograph the people we do. There are many people who only photograph those with whom they are close. There are others who only photograph strangers. What is the criteria for them to make a portrait of their subject? A photographer may not say beauty initially, but I am beginning to believe that for the most part beauty enters into the equation somewhere. It may be an unconscious thought, but I believe that most photographers are drawn to photograph people that are beautiful in some way, even if it is not instantly recognizable.
The other aspect of this that fascinates me a lot is when I see a portrait and my gut reaction is that I don’t like it, and I begin to elaborate why and inevitably the subject’s poor appearance comes up. I found myself saying in a conversation with Rick that I thought the photographer should have looked for different light to make their subject look more attractive. I guess this means it might just be me who thinks that people are always beautiful in successful portraits today because I may be overlooking images because the person does not appear beautiful.
This leads me to one more point, are the best art portraits in photography today made of average looking people that have been photographed in such a unique clever way that they appear more beautiful than they would walking down the street? Is it just that photographers, when looking through the camera, are trying to make things beautiful to the extent that the photograph comes out looking more aesthetically pleasing than the person is normally?
I remember in my photo classes being taught how to do studio portrait lighting, and learning what makes people look better and worse. Because of this education do I just want to make all photographs fit into this mold of what good portraits look like? This all goes back to how we have been conditioned to look at photographs.
Since photographing beauty might come from simply having a camera in front of our eyes and looking at people in such a way that makes them more attractive. Looking through a camera instead of just our plain eyeballs is a totally different experience, one that can remove you from the actual event of seeing.
“People act different if they are behind a camera, even if the camera isn’t real.”
“Yeah, you’re overtaken, you do things that you ordinarily wouldn’t.”
I’m pretty sure that all of this dealing with looking through cameras and beauty is related.
Many followers of fine-art photography world know that Ryan McGinley’s work has been received with mixed emotions.
What those politics might be, exactly, is hard to say, though the question arises in light of the apparently carefree spirit of Mr. McGinley’s pictures. The artist seems to understand this: his inclusion of a shot of a friend, speeding away from ground zero on a bike, his mouth covered by his shirt, carries a jolt of reality-check surprise. However the work develops, it is refreshing to encounter, as we seem to, artists operating to some extent outside the mainstream of the art world itself, where volatile energies — aesthetic and political — are too often stroked into craftsy, resistance-free acceptability.
You don’t need specific equipment to ape the look of McGinley or Larry Clark or Wolfgang Tillmans or Nan Goldin or Corinne Day or Leeta Harding. It’s just the commercial version of the prevailing snapshot aesthetic — off-kilter angles, high contrast images, on-camera flash, murky available light.
