urban ku # 68 ~ this just a test
Thursday, May 31, 2007 at 09:20AM 
This just a test • click to embiggenYesterday I mentioned the book Burtynsky - China. This book should be in the possession of anyone who considers themselves to be a "thinking" photographer if for no other reason than the introductory essay The Truth in Photographs by Mark Kingwell. This essay is one of three in the book that are must reads.
In all probability, I will be posting a future entry about the substance of the essay, but what I wish to bring to your attention today is a point the author makes about beautiful pictures of not-so-beautiful referents.
In this specific case, the thought is instigated by Burtynsky's beautiful pictures of China's march toward serious/monumental environmental impact of the not-so-good variety. Kingwell states, "... what impact remains if, let us say - in what is in fact a true instance - a large image of environmental disaster is used as artistic decoration ... at this point, though not via direct intention, the work has become inert or even disreputable in either or both of two sense: as mere wallpaper, the sort of well-meaning neutering liable to overtake any work via fashionable appropriation ...; or also, as worse, as slyly double avoidance-ritual to environmental awareness is offered and then as quickly withdrawn, or set aside, by the work's surrender to an existing logic of aesthetic appreciation."
Translation - Burtynsky has stated that his pictures address ... an urgency to make people aware of important things that are at stake ..." and, that ... the mass consumption these ideals (happiness through material gain) ignite and the resulting degradation of our environment intrinsic to the process of making things ....
In addressing these issues, Burtynsky is making beautiful pictures. Pictures that find homes in galleries, books and collections (public and private) where they are coveted for their 'surrender to an existng logic of aesthetic appreciation' - either or both of a postmodren view of things and a photographic aesthetic.
Kingwell's point is that, whatever Burtynsky's political intent, it can very easily get lost in the artistic wash - "Outside the gallery setting, the works can slide too easily the background of visual culture" (ed. - there's the 'flow' at work) ", lose their impact, become mere ghosts of themselves."
This notion has been on my mind regarding my works.
What to do? What to do?
Any ideas?
PS - the book is available (although the Sellout warning is very high) at a great price on Overstock.com. Just click on the Photography Books and follow the link to Overstock.com. The Landscapist gets a small piece of the action only if you follow this link.
gravitas et nugalis
Featured Comments: Eric Fredine wrote; With respect to Burtynsky (and many others) another thing that I often ponder is the reliance on spectacle. He seeks out the most fantastic and extraordinary examples - they make for compelling imagery to be sure.
The approach is similar to that of the legions of nature photographers who seek out iconic locations at optimal times. And the compositional devices Burtynksy employs are very conventional and traditional as well (though I think he is very good at it).
(One of the overpasses from China that Burtynksy photographed is even something of an iconic spot - popping up in the work of several well known photographers.)
And just look at the flurry of photographs we got from Katrina...
Reader Comments (5)
A fine pole shot. I love poles - they are very emblematic of our modern relationship to the landscape. Another grid imposed upon it. I was pleased to be introduced to another body of work on poles (in your previous post).
For kicks, a sampling of poles as a recurring theme in some of my own work. From horizons...
Prairie Power Pole and Prairie Sun Dial (the shadow of one).
A page I put together a while ago when I was ruminating about poles: a few more poles.
And a set from last winter that just happens to include 3 poles: winter 5.
More than once I've come dangerously close to pursuing them as a specific project...
Cheers,
Eric
With respect to Burtynsky (and many others) another thing that I often ponder is the reliance on spectacle. He seeks out the most fantastic and extraordinary examples - they make for compelling imagery to be sure.
The approach is similar to that of the legions of nature photographers who seek out iconic locations at optimal times. And the compositional devices Burtynksy employs are very conventional and traditional as well (though I think he is very good at it).
(One of the overpasses from China that Burtynksy photographed is even something of an iconic spot - popping up in the work of several well known photographers.)
And just look at the flurry of photographs we got from Katrina...
Cheers,
Eric
Eric - your prairie poles are so much 'cleaner' (tangled/clustered wire-wise) than those found in urban/town settings.
One of my big gripes is the manner in which companies that string wire - phone, cable, electric, etc. - do so without any restrictions. They just show up and do it in whatever manner is least time consuming.
No attention at all is paid to the visual mess they create.
The unrestricted free market strikes again - another 'hidden' cost, albeit aesthetic, of 'better living'. I would pay more for these services in order to have a more pleasing look to my village.
Well, if you're looking for ideas, here's one that just came to me, perhaps stemming from Eric's comment regarding "project" that I read earlier. Go on with the daily blogging as long as it feels right, but once or twice a month look over the photos you've posted and assemble a set (any size) on some theme you identify. Put them next to each other in a gallery, and write something about them, possibly with a question you'd like your viewers to respond to. Maybe this would break up the flow a bit and let us all react in a different way. Show us the lake into which the daily stream empties (or is it just a big eddy? -- roll your own metaphor!).
I saw a Burtynsky exhibit a few years back that included a great 15-20 minute video interview. He was non-committal about any kind of political or environmental activism in his work. I like the idea of leaving the interpretation up to the viewer -- instead of telling me "hey look at this, this is bad," perhaps "hey look at this, this is interesting, decide for yourself what it means" is a better approach.
Cheers,
Joe