diptych # 72 ~ day and night (I'm back)

flowers ~ Chaffey's Lock, CA • click to embiggen
chip wagons ~ various locations / Rideau Lakes Region, CA • click to embiggen
wartime emergency food wagon - forerunner to the chip wagon? ~ Canadian War Museum / Ottawa, CA • click to embiggenAfter a two week hiatus, blogging wise, I'm back. One week was occupied by hockey camp transporting / observation and the other week to a birthday trip return to Chaffey's Lock (Rideau Lake Region in Ontario, CA) where one of my birthday gifts was a visit to the hospital in the lovely village of Perth to tend to a return of my AFib. The only casualty of my hospital visit was the time lost - the visit killed a day - which had been allocated to a picture making pursuit of the so-called chip wagons which are found throughout the lake region.

Chip wagons are made of resurrected conveyances / vehicles - most often delivery trucks, aka: wagons, of one kind or another - which have been converted into roadside food stands. The featured edible at chip wagons are french fries, aka: chips. Other menu items are also available, with a heavy emphasis on those food stuffs which can be deep fried in grease. As is evidenced by those depicted in the chip wagons triptych, the chip wagons have a great deal of character, if not healthy eating.

FYI, one common chip wagon menu item, which I sampled for the first time, is poutine*. Poutine is a common Canadian dish, originating in Quebec, made with french fries, topped with a brown gravy-like sauce and cheese curds. Not exactly what the doctor ordered but quite tasty nevertheless.

I hope to return to the area in a few weeks in order to make a sizable dent in my chip wagon picture making aspirations. My only reservation is that I might put on a few extra pounds of body fat.

*poutine

diptych # 71 ~ weekend afternoons

Saturday + Sunday afternoon ~ Au Sable Forks, NY - in the Adirondack PARK / Old Montreal, CA. • click to embiggenI am spending most of this week as the hockey bus driver and hockey camp observer / evaluator (of Hugo's performance). Consequently, wordified blog entries will be scare - the wife has volunteered to be tomorrow's bus driver which may give me enough time to bloviate, re: art, Photography Division.

In the meantime, consider this:

I took a test in Existentialism. I left all the answers blank and got 100. ~ Woody Allen

pictures + words project ~ picture 11 • words j - apostate visual artists

picture 11 • click to embiggen
words j • click to embiggenIt should come as no surprise to anyone who has followed this blog for any length of time that I am not enamored of/by the Academic Lunatic Fringe (ALF), Photography Division. IMO, they are an ipso facto testament to Susan Sontag's notion regarding the revenge of the intellect upon art inasmuch as the ALF has turned the notion of meaning into a fetish. So much so that meaning reigns supreme over both the depicted referent and visual qualities to be had in a picture.

And, as the ALF would have it, the more self-absorbed the picture maker the better. Or, as one critic wrote: many photographers are like .... characters whose adventures, much like that of Oz in this telling, track like therapeutic journeys (follow your dream of self-actualization) instead of transcendent excursions (just dream!). The "I" is exalted and all important.

I am not alone in my feelings and thoughts regarding the ALF. Consider this from John Rosenthal:

Unfortunately, art in America has become an elitist preserve. This is partly the fault of a critical establishment which abandoned the enduring search for a common language - the language of love and loss and sorrow and remembrance - and began to speak, almost exclusively, in a specialized and opaque language that few can understand... speak primarily to a small New York audience. Outside of this extroverted realm ... the quiet, free-standing work of art is given little respect ...

Around the age of thirty it struck me that a continuous self-focus was an act of gossip - about oneself, to oneself. Turning one's gaze within might be an effective antidote to the national faith in material redemption, but by itself this habit of inwardness would only encourage a chattering of selves.

And then consider this - combination of commentary on and artist statement about a body of work:

....(he) investigates the family photo album employed as the visual infrastructure for the flawed ideology of the American Dream. Frustrated by the lack of images that document the true and sometimes troubling nature of his own familial history, he set out to create a new archive ... [U]sing photographs made over the last decade, and altered amateur photographs ... [I]n my story, these characters exist at the intersection of domestic duress and spirituality ... [T]hese images are a tangible manifestation of fantasy, memories and experiences acquired during my journey to adulthood, and function as a supplement to the family album assembled by my parents.

My very first reaction to reading - even before viewing the pictures - the above commentary / statement was that I hoped the picture maker is seeing a therapist. If he is, it's possible that the therapist might have suggested the picture making project as part of the therapy. Or, perhaps there is no therapist and the picture maker is just following his dream of self-actualization or whatever.

In any event, the B&W pictures made for this project are nice enough but ... for the most part, they employ a hodgepodge of tried-and-true image-altering techniques and imaging making styles. Throughout the sampling of work I viewed, there were hints and nods to the work of Jerry Ulesmann, Sally Mann, Diane Arbus, Duane Michals, and Alec Soth to name a few. None of which is to write that the work in question is either trite or valueless, but ....

... to be honest, for me, the artspeak is so annoying as to be off putting when it comes to viewing the actual pictures. But, of course, as is the wont of the ALF and so many of the MFA 'educated' picture makers, they just have to artspeak it up to make (annoying) manifest, direct and control, and embellish their precious idea of meaning. And, it seems to me, the commentary / statement artspeak is also serves to distract viewers from the fact that the pictures in question are most often very derivative in technique and style. Which is to write that, visually, there is very little that is new or unique on offer.

All of that written, I must admit to not knowing why I am, at this particular moment, seemingly so obsessed with the ALF and their MFA offspring. Most likely it has something to do with John Rosenthal's conclusion that:

...quiet, free-standing work of art is given little respect, apostate visual artists find themselves longing for an absent American discourse.