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This blog is intended to showcase my pictures or those of other photographers who have moved beyond the pretty picture and for whom photography is more than entertainment - photography that aims at being true, not at being beautiful because what is true is most often beautiful..

>>>> Comments, commentary and lively discussions, re: my writings or any topic germane to the medium and its apparatus, are vigorously encouraged.

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BODIES OF WORK ~ PICTURE GALLERIES

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In Situ ~ la, la, how the life goes onLife without the APADoorsKitchen SinkRain2014 • Year in ReviewPlace To SitART ~ conveys / transports / reflectsDecay & DisgustSingle WomenPicture WindowsTangles ~ fields of visual energy (10 picture preview) • The Light + BW mini-galleryKitchen Life (gallery) • The Forks ~ there's no place like home (gallery)


Entries from May 1, 2007 - May 31, 2007

Tuesday
May222007

crafted ku # 6 - they're everywhere # 2

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No use crying over water over the damclick to embiggen
At one time they were everywhere in the Adirondacks - dams, that is. It seems that every river and stream was harnessed for one use or another, ranging from logging and power to recreation.

The dam pictured here is in my hometown of Au Sable Forks. It was first built and used to power the iron ore mill (none other than Benedict Arnold owned a mine here), which in turn 'powered' the village. Later the mill was converted to paper product production and the dam served that industry as well. Today, it just stands there although it does help create some nice recreational water above its confines.

There are still quite a few (most likely, hundreds) dams hanging around on the rivers. They are a form of the 'living history' of the Adirondacks and they fit right in with a book I am reading - Down To Earth, Nature's Role in American History. The author, environmental historian Ted Steinberg, 'offers a bold new critical synthesis od American environmental history ... by demonstrating the myriad but all too often unacknowledged ways in which familiar historical events have been intimately tied to the transformation and exploitation of the natural world ... [he] places the enviromment at the very center of our story ... [he] reminds readers that many critical episodes in our history were, in fact, environmental events ...' - from the book's dust jacket.

The premise of the book is simple - the causal effect of the environment in shaping human history. In effect, turning history on its head - looking at the nature world, not as a backdrop to human events, but rather, as one of the primary shapers of human events.

When viewed through the lens of the environment, one particularly stunning example of this 'causal effect' is the natural world's considerable influence in creating slavery, the Civil War and the eventual defeat of the Confederacy.

Think in these terms - without question, the environment in the South - length of growing season, days of sunshine, rainfall, average temperature, soil quality, etc. (aka, the climate) - was the primary reason southerners turned to a 'one-crop' agricultural economy based on cotton (and to a lesser extent, tobbaco). The agricultural particulars of growing cotton/tobacco, especially the labor-intensive system of land rotation which required ongoing labor at the lowest possible cost, was ideally suited to slave labor. Bingo! Slavery seemed like a damn good idea. And, it's also interesting to note that slavery has never taken hold in a cold northern climate.

Most obviously, the institution of slavery was a primary causal instigator of the Civil War and, fittingly, in a form nature's poetic justice, it was the South's slavish (pun intended) devotion/commitment to King Cotton that came back to bite it in the ass - with it's land tied up in the production of cotton, there was little land left or the economic inclination to grow food. Once an effective naval blockade of southern ports was in place, the South was literally straved to death. General Lee wondered as early as 1862 whether starvation, more than enemy forces, might prove the greater threat to the South. In the end, it was starvation (military and civilian) which brought the South to its knees.

What about military action, you might ask? Sure, but in the latter half of the war, many of the South's military decisions were based on/restricted by it's inability to keep its troops (and horses) fed.

What an idea - the course of human events as decided by the landscape. The moral of the story is evident - ignore or abuse the environment, it's gonna get you in the end.

PS - in case you missed a slightly subtle moral herein, be aware that the decisions to grow just cotton/tobacco and use slave labor to do it were based on unregulated market forces. Seems like the much-idolized 'invisible hand' didn't get it quite right.

Monday
May212007

ku # 472 ~ gardening casualty on gravel, grass and soil

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Gardening casualty/'square' root of 3click to embiggen
Every once in awhile a single topic takes hold of the photog blog arena like a virus and it seems that everyone must comment on it. Witness the recent Jeff Wall Affair.

The most recent topic, albeit a minor epidemic, involves the idea of Droit de Suite - a French term that translates as "Right of Continuation" or continuing rights - which is basically a market mechanism (or 'government cohersion' as the ever-whining privledged class likes to call it) for awarding an artist a piece of the profit action (a royalty) based on the public (dealers, auction houses, etc.) secondary market resale of their work. Typically, the 'piece of the action' is a relatively minor amount. In France, for example, the artist receives between 1% and 3% of the resale price.

As is often the case on the blog-o-spere, there is much mis/dis-information on the subject. If you are interested in a full account of of Droit de Suite, it can be found here.

I am not interested in responding to all of the various feints, dodges and outright distortions of the unfettered free market robber barons (Greed and Avarice Division - our motto, Nothing Exceeds Like Excess). The only point which I wish to make is simple - free-market nazis want to turn everything into a commodity, subject only to market forces. In their view, nothing is worth anything, more or less, other than the monetary price which it fetches on the open market. The market and its 'invisible hand' - you know, 'invisible', like the corporate special-interest lobbyists in DC - fixes everything.

And, oh yeh, what ever you do, don't piss off the priviledged class (the privledged class, not the wealthy class. There's a big difference between the two). Just trust the same market which commodified the earth's resources as nothing more than unfettered fodder for profit (and f**k the consequences).

For them the notion of a Moral Economy just doesn't exist, or, if it does, it serves as little more than a commie-pinko bogeyman who gets hoisted up the flagpole (and saluted) everytime the undeserving/underachieving/lazy-ass-SOBs try to 'steal' their money.

The phrase that comes to my mind is the one about people who know the (monetary) price of everything and the value of nothing. I guess that's why most of them sell their souls - and dragging anything else they can along with it in the process - to the devil.

Any questions?

Friday
May182007

What was it you wanted?

listening.jpgMe, my hat and eyeNo embiggen - it's scary enough at this size

Whatever you wanted
What could it be
Did somebody tell you
That you could get it from me,
Is it something that comes natural
Is it easy to say,
Why do you want it,
Who are you anyway?

Is the scenery changing,
Am I getting it wrong,
Is the whole thing going backwards,
Are they playing our song?
Where were you when it started
Do you want it for free
What was it you wanted
Are you talking to me?

What was you wanted? ~ Bob Dylan

Friday
May182007

Bill Delanney/Nothing & Doug Stockdale/Bad Trip-Sad Trip

nothing1.jpgnothing3.jpgBill Delanney wrote; About four years ago, after a long illness, I decided to simplfy my life. I stopped watching TV, movies, and the news. Photography was something that had interested me in the past and I thought it would be fun to do again. Found the simplist camera I could find, started reading about subjects that interested me. Making those changes has had a big impact on my personal life. My approach to what I make pictures of are only the things that interest me. I don't have to make a living selling pictures. I'm not looking for perfect.I don't see perfect. I've never seen perfect. I find as much intrique and discovery in normal everyday things much more than traveling to the Grand Canyon or looking at or for calender type pictures. I don't make a picture until I discover something out there that moves me inside. I have to feel something. Those are the subjects I'll stop,relax, sit with and then I either get a "feeling" or I don't. If something tells me to make a picture, I will. Sometimes, nothing happens and I just move on. It's almost a "spiritual" feeling. I can sense something, but I can't define it. I kinda just blend in-I don't try and evaluate or really think- it just happens. It seems I'll see something and feel a connection somehow. The beauty of the holga and the pinhole is I don't have to think about anything. Sometimes I click the shutter or open the pinhole and sometime I don't. It's hard to see sometimes, I can't go looking for it... It just finds me. I want my pictures to take me to another place. My pictures are my memories of that place.

stockdale.jpgDouglas Stockdale wrote; This project results from of a number of my personal experiences. My first experience was from my childhood riding with my father in Arizona, I had commented on the three white crosses that I saw at an road intersection that we had just passed. He told me that the crosses were for the three people who had been killed in accidents at that corner and that the state had put them there as a reminder to other drivers. That apparently left a strong memory.

Now many years later, I had, while traveling in some remote sections of the country, the sudden recognition again of the roadside memorials, but now they are very individualistic and unique. These are no longer nondescript white crosses but memorials, some very elaborate, some very plain, erected by those who are still here in memory of those who have left.

I have presented Bill & Doug together here for several reasons. First, lest anyone think I have gone off the deep-end regarding constucted pictures, I offer them as fine examples that found referents are still alive and kicking with considerable vigor. Second, both have projects/series that are little gems of focused vision.

Bill Delanney has several mini-series portfolios which are simple delights. The above pictures are from Pictures of Nothing. Also of special interest to me are Heavenly Food and a wonderful look at Barbershops. Bill's pictures are an excellent example of the power of simple observation coupled with focused concentration.

Doug Stockdale's project, Bad Trip-Sad Trip, also gives testament both to the power of simple observation and to the added kick of words. The fact that I read these words a few days after Mother's Day seemed to give them that much more impact.

Much thanks to Bill and Doug for their submissions to The Landscapist. It's a privilege to present their pictures and I would like to extend an invitation to both to participate in the Guest Photographers Forum on a continuing basis.

Thursday
May172007

FYI ~ a new link

I've added a new link to my list of Links of Interest link in the Navigation sidebar.

This is a link to 5B4 - Photography and Books. The blog is dedicated to mini-reviews/information about photo books - books of photographs, not books about how to take photographs.

Caveat - a word of caution. If you are like me and have a love of photo books (IMO, one of the best ways to improve your own photography skills, both creating and viewing), you might want to give control of your wallet to a tightwad who won't let you go on a spending spree like a kid in a candy store.

I have also added a few descriptions to my links. More to come.

Thursday
May172007

civilized ku # 29 ~ Event trail

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County fair grounds exhibit trailclick to embiggen
Last evening, I finished another of my bargain-bin 'adventure' novels. This one - The Balance of Power by Richard North Patterson - was different from most I read in that it is a political thriller. It was also over 600 pages, making it not exactly a quick read.

The basic plot line is about gun control and tort reform and the systemic political intrigue whirling around these issues. The author obviously did his homework with exhaustive in-depth research on both sides of the aisle. According to the book-jacket praise, Patterson 'has a keen eye for how Washington really works ... his portrait of the gun lobby is right on...', and, the book presents '... a heartfelt understanding of the effects of gun violence on our society ...'

In the interest of full and fair disclosure, I should note that those 2 items of praise were tendered by Bill Clinton and Ted Kennedy respectively - a detail that is sure to capture the interest and resolute attention of some in the audience.

Interestingly though, the only interest group refusing to be involved in interviews and background research was the NRA - that's the Nat'l Rifle Assoc., for those of you not familiar with the intricacies of the gun issue in the USA. (A quick aside - why are they called a 'rifle' association? They spend most their time, efforts and money 'protecting' the 'right' of the people [in a A well regulated Militia, no doubt] to own rapid-fire handguns, assualt weapons and organ- shreading, 'cop-killer' bullets - the weapons of choice for drug thugs, criminals, batterers, and wackos intent on committing mayhem.)

All of that said, the book was an interesting, captivating, sobering and somewhat depressing read. But, my point is this - Even though the book is a fiction, it engages the reader with and raises awareness of many truths about our society here in America. In his acknowledgements, Patterson thanks his publisher for '... believing that there is a place for serious popular fiction on controversial political and social subjects ...'

Sounds an awful lot like photography's recent(ish) fascination with 'constructed' pictures which articulate concerns relating to contemporary global experiences, doesn't it?

Wednesday
May162007

urban ku # 65 ~ they're everywhere

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Sluice on the Boquet at Wadhamsclick to embiggen
Kent Wiley and Steve Durbin have been engaged in an interesting give and take on Kent's Truth & Beauty entry in the Guest Photographers Forum. It's an informed and thoughtful exchange, well worth reading (and you probably should read it to make sense of this entry).

The discussion revolves around a couple issues - 'truth' and 'idealized forms' - that have been the topic of many entries and discussions here on The Landscapist. I thought I would use this opportunity to try and clarify my position on these topics. A position, which, unless you have read every entry I have written since I started blogging, might be mis-understood by many. I'll try to keep it short and simple.

The 'reality factor' of photography, its inexorable connectedness to the object of the camera's gaze (the referent), is the one formal characteristic of the medium that truly distinquishes it from the other visual arts. In my picturing, I try to remain true to this characteristic of the medium.

In part, that is to say that my pictures conform (mostly) to the visual characteristics of the documentary style of picturing - they are true to the 'topographical' features of my referents (people, places, things). I picture in this manner because I have absolutely no inclination towards sentimentality and romanticism.

I have absolutely no inclination towards sentimentality and romanticism because, in part, my intent for my pictures (as mentioned in urban ku # 64) is to articulate concerns relating to contemporary global experiences and I don't believe that sentimentality/romanticism is the way to do it. IMO, looking at 'reality' with cool direct gaze is the only way to do it.

Does this mean that pictures which represent 'idealized forms' are sentimental dreck? Not necessarily so.

In fact, I consider most of my pictures to be 'idealize form's of expressing/representing reality. However, what they are not are pictures of idealized referents. There's a difference between the two, a huge difference. As one example, the world does not need another picture of moving rocks on Death Valley at sunset/sunrise. What it really needs are more pictures which 'articulate concerns relating to contemporary global experiences'.

Does this mean that pictures of moving rocks on Death Valley at sunset/sunrise (idealized referents) are sentimental dreck and have no value? No, not necessarily so.

But, frankly, in the scheme of articulating concerns relating to contemporary global experiences, they are little more than decorative photographic baubles.

Now listen up - this is important - I have quite a number of 'photographic baubles' just as I have lots of shmaltzy/kitschy trinkets and objects around the house. I collect them. They give me great pleasure. Many of them are in large built-in cabinet (with solid ornate wooden doors) which the wife refers to as The Museum.

I consider my photographic baubles and objects de kitsch to be decorative art. They are both pleasant to look at and, especially the pictures, ways to connect to pleasant memories of people, places and things. Far be it from me to say that they are 'valueless'. They just represent a very different kind of value from that which I am trying to infuse in my 'other' pictures.

Everyone has a need to 'disconnect' in a hyper-connected world. I am no exeception. My probelm with those who create nothing but decorative art (and more importantly, with the art itself) is simple - in a world which needs artists who articulate concerns relating to contemporary global experiences, if you are not part of the solution, you are part of the problem.

Tuesday
May152007

urban ku # 64/crafted ku # 6 ~ Parking lot at sundown

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Parking lot at sundown • click to embiggen
Much thanks to Bret Kosmider for passing along info about the Toronto Photography Festival. The festival's theme is The Constructed Image.

The festival organizers describe the festival as this - The exhibition demonstrates how the constructed image has irrevocably transformed photography’s relationship to reality.

Whether photographs are composites of multiple scenes or of various disciplines, materials and influences, hybridity is now a fundamental feature of the medium. Images are digitally altered, theatrically arranged, artificially staged and fabricated. Fashion, advertising and marketing strategies, many of which, ironically, were originally influenced by photography, are now frequently reinterpreted by photo-based artists as a means of expression. This directorial nature of working has moved photography away from the objective documentation of the world, and aligned it more closely with the freedom and infinite possibilities that theatre, film, painting and sculpture have always provided. Constructed modes of working are essential for these artists as they articulate concerns relating to contemporary global experiences.

This tidbit from Bret arrived at about the same time I was reading this from Barry Frydlender (see urban ku # 5 for link), a photographer who creates constructed pictures; "David Hockney said that if you put five photographs of the same scene together, people look at them five times longer." Frydlender, when asked if his constructed pictures (which are made of many pictures) were/are an 'act of resistance to a culture increasingly focused on instanteous understanding and gratification?', responded, "Well, what could be more desieable? Do you want prople to just blink?"

My answer to Frydlaender is an emphatic, "No". But then again, how many of you out there want 'people to just blink' when viewing your pictures? No One? OK, but the question is, how do you get and hold viewers attention?

Those photographer-artists who work the found/unaltered side of the photographic street are faced with the monumental task of standing out from the overwhelming photographic clutter of the instant communication age. It was ever thus but now it is exponentially more so, especially considering the fact that there is some damn good stuff floating around in the clutter. These photographer-artists must find either 'new' referents or very new ways of seeing 'old' referents. Otherwise, it's 'blink' and they're gone.

Those artists who use photography to create 'constructed' pictures (in all of their guises) have an advantage on the new playng field - at least when it comes to attracting attention. The naturally curious and eager-to-learn on the planet are inevitably attracted to these pictures because of the ambiguity most often found in constructed pictures. Pictures that are usually packed with information and possibilities just waiting to be explored. Of course, I have always thought that what distinguishes decorative photography from fine art photography is that the objective of the former is to turn off the brain and that the objective of the latter is to engage it.

So, I for one welcome the challenge of picturing in a way which 'transform[s] photography’s relationship to reality' and which 'articulate[s] concerns relating to contemporary global experiences'. In fact, although no one seems to have picked up on it, I have been posting quite a few 'constructed' pictures. Hint: if it says 'crafted' it's constructed (in some fashion).

PS - anyone interested in going with or meeting me in Toronto for the festival? Looks like there's at least a couple days worth of gallery cruising available.