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THEORYSunday, January 17, 2021
Essays | Interviews
2012 | 2011 | 2010
At this writing I have not yet visited Memphis, or northern Mississippi, and thus have no basis for judging how closely the photographs in this book might seem to resemble that part of the world and the life that is lived there. I have, however, visited other places described by works of art, and have observed that the poem or picture is likely to seem a faithful document if we get to know it first and the unedited reality afterwards - whereas a new work of art that describes something we had known well is likely to seem as unfamiliar and arbitrary as our own passport photos.

Thus if a stranger sought out in good season the people and places described here they would probably seem clearly similar to their pictures, and the stranger would assume that the pictures mirrored real life. It would be marvelous if this were the case, if the place itself, and not merely the pictures, were the work of art. It would be marvelous to think that the ordinary, vernacular life in and around Memphis might be in its quality more sharply incised, formally clear, fictive, and mysteriously purposeful than it appears elsewhere, endowing the least pretentious of raw materials with ineffable dramatic possibilities. Unfortunately, the character of our skepticism makes this difficult to believe; we are accustomed to believing instead that the meaning in a work of art is due altogether to the imagination and legerdemain of the artist.

Artists themselves tend to take absolutist and unhelpful positions when addressing themselves to questions of content, pretending with Degas that the work has nothing to do with ballet dancers, or pretending with James Agee that it has nothing to do with artifice. Both positions have the virtue of neatness, and allow the artist to answer unanswerable questions briefly and then get back to work. If an artist were to admit that he was uncertain as to what part of the content of his work answered to life and what part to art, and was perhaps even uncertain as to precisely where the boundary between them lay, we would probably consider him incompetent.

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Το εισαγωγικό κείμενο του βιβλίου William Eggleston's Guide από τον John Szarkowski. Για τη συνέχεια του κειμένου επισκεφτείτε το παρακάτω link.>link
CHARLES H. TRAUB WRITINGS//April 04, 2012 at 10:41 am / THEORY [Essays]
Maxims from the chairThe Do's
Do something old in a new way
Do something new in an old way
Do something new in a new way,
Whatever works . . . works

Do it sharp, if you can't, call it art
Do it in the computer—if it can be done there
Do fifty of them—you will definitely get a show
Do it big, if you cant do it big, do it red
If all else fails turn it upside down,
if it looks good it might work
Do Bend your knees
If you don't know what to do, look up or down
—but continue looking
Do celebrities—if you do a lot of them, you'll get a book
Connect with others—network

Edit it yourself
Design it yourself
Publish it yourself
Edit, When in doubt shoot more
Edit again

Read Darwin, Marx, Joyce, Freud, Einstein,
Benjamin, McLuhan, and Barth
See Citizen Kane ten times
Look at everything—stare

Construct your images from the edge inward

If it's the "real world," do it in color

If it can be done digitally—do it

Be self centered, self involved, and generally entitled
and always pushing—and damned to hell for doing it

Break all rules,
except the chairman's

For full text please follow the link.
Πολύ ενδιαφέρον κείμενο του Charles H. Traub (φωτογράφου, συγγραφέα και σημαντικού ακαδημαϊκού) για την καθοδήγηση και πρακτικές συμβουλές προς νέους φωτογράφους.

Για τη συνέχεια του κειμένου επισκεφτείτε το παρακάτω link