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photography : page 2........
If anything, I'm more influenced by film and painting than photography. My works are elliptical narratives.
Anna Gaskell......[Esquire,
Dec. 2002] Anna
Gaskell by Anna Gaskell, Thom Jones, Nancy Spector
Resemblance:
Photographs by Anna Gaskell ~ ~ ~ ~
|
| Though not
unique in creating
staged pictures (Cindy Sherman, Laurie Simmons and Sharon Lockhart,
among
others, work in a related vein), Gregory
Crewdson takes
his process to the limits
of still photography, employing a vast technical team that at times has
included multiple production managers, a director of photography, an
aerial
engineer, several camera operators, a production designer, a lighting
supervisor,
three gaffers, eight grips and electricians, two pyrotechnics
specialists,
two casting consultants, a carpenter and, of course, a few documentary
photographers to record the process. ...
"It's all about creating your own world," Crewdson says. "Mine just happens to be suburbia. It's a setting to project my own psychological drama onto. It's a flexible place to establish a narrative. "It feels familiar and ordinary, but I like to defamiliarize it. ... Artists have a single story to tell. The struggle is to attempt to reinvent the story in different forms, and make it new each time." from
article: "Suburbia, Mystified" by Suzanne Mantell,
|
 .. .. detail of Ophelia (2001) - cover of book: Twilight by Gregory Crewdson |
~ ~ ~ ~
I think I always have been drawn to photography because I want to construct a perfect world. I want to try to create this moment that is separate from the chaos of my life, and to do that I think I create enormous disorder.
..
..And I like that craziness because I think that it creates almost a sort of neurotic energy on the set, and through that there is a moment of transportation.
And in all my pictures what I am ultimately interested in is that moment of transcendence or transportation, where one is transported into another place, into a perfect, still world. Despite my compulsion to create this still world, it always meets up against the impossibility of doing so.
So, I like the collision between this need for order and perfection and how it collides with a sense of the impossible.
I like where possibility and impossibly meet.
Gregory Crewdson
from Egg - The Arts Show / Crewdson page
~ ~ ~ ~
Crewdson - like Justin Kurland, Collier Schorr, Larry Sultan and Tina Barry - has made the photographer's subject-matter suggest an interior life that is only partially accessible. Crewdson's works seem to be above all psychological portraits, and thus may be best explained in psychoanalytic terms rather than social or art-world ones. ...
from article Prozac Nation - the "Twilight" photographs of Gregory Crewdson - by Adrian Gargett, Get Underground 09.03.03 --
more quotes from this article on page: the shadow self
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> images from book:*Women*by Annie Leibovitz, Susan Sontag
another book:*Annie Leibovitz: Stardust: 1970-99
~ ~ ~ ~
Jessie,
Emmett and Virginia, 1989 |
Night-blooming
Cereus - |
from "Deep South" series, 1998 |
 |
Sally Mann was born in Lexington, Virginia, in 1951 in the foothills of the Blue Ridge Mountains. ... She still lives in Lexington with her husband and three children, Jessie, Emmet and Virginia. Although most of Sally Mann's work has been controversial, she earned notoriety with her second published collection, At Twelve: Portraits of Young Women (1988).
According to critics, those portraits "captured the confusing emotions and developing sexual identities of girls at that transitional age, one foot in childhood and one foot in the adult world. Her next collection published in 1992, Immediate Family... gained notoriety for it's nude photographs of her own children. ...
Her photographs appear in most major American art museums. Mann's most recent work have been of rural and unpopulated areas of Virginia... her large black and white prints are all shot with an 8x10 camera.
~ ~
I struggle with enormous discrepancies: between the reality of motherhood and the image of it,
between my love for my home and the need to travel, between the varied and seductive paths of the heart.The lessons of impermanence, the occasional despair and the muse, so tenuously moored, all visit their needs
upon me and I dig deeply for the spiritual utilities that restore me: my love for the place, for the one man left,
for my children and friends and the great green pulse of spring. Sally Mann from a bio~ ~
"When the good pictures come, we hope they tell truths, but truths 'told slant,'
just as Emily Dickinson commanded." Sally Mann - from profilerelated video [includes segment on Sally Mann]
Art In The Twenty-First Century **[PBS Home Video from the series Art:21]*books by Sally Mann :
At Twelve: Portraits of Young Women*****Immediate Family *****Still Time*****Second Sight
excerpt from interview with two of Sally Mann's children on page:*motherhood
~ ~ ~
Your average photo tends to conceal rather than reveal. Only truly great art photos, by Robert Frank, for example, seem so true that you feel like a voyeur for just looking at them. They speak so much about their subjects in such an artful, deliberately nondeliberate way that they take my breath away. Mary-Louise Parker ... [Esquire, November, 2002]
In 1955, Robert Frank set out to observe and photograph the United States. Supported by a grant from the Guggenheim Foundation, he traveled across the country for two years. The result was The Americans, a visionary work and a milestone in the history of photography.
from site: Robert Frank: The Americans // photo: "Charleston, South Carolina"
...The Americans by Robert Frank, Jack Kerouac
~ ~ ~ ~
 .. .. Victorian photographer Julia Margaret Cameron |
 .. .. Faith, 1864 |
 .. Whisper of the Muse, 1865 |
 .. Ellen Terry at Age Sixteen 1864 |
After receiving a camera as a gift, Julia Margaret Cameron [1815 - 1879] began her career in photography at the age of forty-eight. In addition to literature, she drew her subject matter from the paintings of Raphael, Giotto, and Michelangelo, whose works she knew through prints that circulated widely in late nineteenth-century England. Summing up her influences, Cameron stated her photographic mission thus: "My aspirations are to ennoble Photography and to secure for it the character and uses of High Art by combining the real and Ideal and sacrificing nothing of the Truth by all possible devotion to Poetry and beauty." ... from Getty Museum bio page
...Julia Margaret Cameron: The Collected Photographs by Julian Cox, et al
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In Memory kodalith and mixed media
by Mary Daniel Hobson
I am interested in what lies beneath the surface of the skin. It is not the physical structures that concern me - ligaments, organs, bones. Rather it is the emotions and experiences that are imprinted on our bodies - the places we travel, the music we listen to, the letters we read and write. Our past informs our cells. ... Inspired by Surrealism to look below the surface, my collages investigate the emotions and experiences housed within the body. I print fragments of the body on kodalith, a medium which renders the photograph transparent so that you can literally look through it to what lies beneath.
I delight in using real objects such as old maps and letters, insect wings, toy train tracks and door hinges, because of their rich symbolism. My aim is to express metaphorically the poignant experiences that live within the body.
Mary Daniel Hobson - artist statement and artwork from her site: marydanielhobson.com
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 |
< Eating Imogen Cunningham and Twinka > |
 |
In 1979, Judy Dater published Imogen Cunningham: A Portrait, to celebrate Cunningham's (1883-1976) life and work as one of America's most important photographers. Coming out of the feminist movement of the 1970's, Dater and her photographs raise questions about societal gender roles and female identity. In Dater's photograph "Imogen and Twinka", Dater asks the viewer to think about preconceived notions of age and beauty.****from profile on Peter Fetterman Gallery site: peterfetterman.com
*books:Art/Women/California 1950-2000: Parallels and Intersections by Diana Burgess Fuller, Daniela Salvioni, eds.
Women & Other Visions by Judy Dater / Imogen Cunningham: A Portrait by Judy Dater
~ ~ ~ ~
I want to make things that are beautiful, seductive, formally challenging and culturally meaningful. I'm also committed to radical social change. Any form of human injustice moves me deeply... the battle against all forms of oppression keeps me going and keeps me focused. Carrie Mae Weems [from art gallery profile] book: Carrie Mae Weems // video: Behind The Scenes
~ ~ ~ ~
We can never know the reach of our work, never know when we share a photograph how and why it might make a difference, never know how our small image might help clarify the whole global picture. But what we do know, from our own experience and the experience of history, is that photographs can change the course of the things, turn one's head, alter one's thoughts, enlighten one's darkness. To shoot with that awareness, to know our images, made of light, can contribute light - that is the true joy of photography.
Jan Phillips - from her book God is at Eye Level***[quote and photo from her website]
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 .. .. space of this review, humor me. ... karen finley is amazing. she is the (unwilling) joan of arc of pop culture as we know it. she dared to deconstruct dysfunction, patriarchal power junkies, AIDS hysteria, sexism, homophobia.... |
okay,
you get the idea...and she tackled all these things, and so many more
subjects,
on a human level, on a confrontational level, with compassion and
parody
combined, with anger and love combined, espousing politically correct
ideas
in a very unpolitically correct voice during very PC times.
while this book is not a "compilation", per se, it is a kind of experimental autobiography, with big chunks of finley's work interspersed throughout - sort of a show and tell exhibit in a book. it works. [Amazon.com review] ...A
Different Kind of Intimacy : |
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| Sheila
Metzner's landscapes
are for me a way into her still-lifes, which use shape and light and
space
to create alternate worlds, alternate histories, even alternate life
forms.
... the photographs are celebrations of them, celebrations of their
essences,
of their souls.
from article: "The Souls of Icebergs: A Meditation on Sheila Metzner's Work" by Elizabeth Dewberry |
 |
| Sheila
Metzner - on her book Inherit the Earth
"These places are real. They are not a dream or a figment of the imagination. What is not important is that I stood, or sat, or kneeled before them. What is important is what they reveal on all levels by virtue of their being connected in, or as though in, the pages of a book or the walls of room upon room they speak of endless transformation. "Eons of construction and demolition. Independence and total dependency. Reproduction and unique formation. Power beyond cognition, scale and spectrum. And they speak of us and to us." [from sheilametzner.com] ....Inherit the Earth by Sheila Metzner Sheila
Metzner: Form and Fashion |
 |
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| The
invention of photography was the invention of chemicals to fix an image
already seen. That lasted for 160 years.
It's now just come to an end, and (that is) making the way we look at things very different. When the computer comes in, the photograph begins to lose veracity. Before that, if you saw something in a photograph, you assumed, quite rightly most of the time, that at one particular point in time and space these objects looked approximately like this or were in this position. Now that's not necessarily the case. You can draw photographs in a way. The photograph has moved toward drawing and painting. |
 .. ,, David Hockney ........[LA Times, July 20, 2001] ......David Hockney : Paintings by Paul Melia Secret
Knowledge : Retracing 6 Centuries of Western Art
|
related page: digital imaging~ ~ ~ ~
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Deborah Mesa-Pelly has a macabre idea of "The Doll House." She shot the scene within a cave
in a girl's bedroom. The only partially visible girl crouches at the cave's edge, cooly considering
the terror within. The cave is a baggy monster and an infected womb.Its dark and crusty reality cools all jets and cuts dead all play.
Is this feminism? Yes, but feminism that's hip to the body's dirty secrets. Even if there were
a male artist brave enough to go this far, Mesa-Pelly and others like her have beaten him to it.from article "Gutsy artists get the glory in show that bares body and soul" by Regina Hackett,
Seattle Post-Intelligencer, September 29, 2000~ ~
The use of fantastic in photography, as in the arts in general, has always been a way
of commenting on the limits of realism, rational thought, and stable social roles.The fantastical narratives in my photographs, however, dramatize the complexities
of experience and identity in a modern world where the line between the real and
the fantastic has become increasingly blurred.Deborah Mesa-Pelly [from artloop.com]
book: Deborah Mesa-Pelly by Deborah Mesa-Pelly
related page:**the shadow self
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 |
 |
Brigitte Lacombe |
| __
book:
__by
Brigitte Lacombe (photography), |
"To the public, French-born New york-based photographer Brigitte Lacombe is largely unknown; film and theatre celebrities, however, made her their favorite portraitist. | No wonder, her pictures of Woody Allen, Robert de Niro, Jeanne Moreau, Dustin Hoffman, and others bespeak a trust and familiarity between model and artist that is unique in contemporary photography." [publisher review] |
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____________________
When I started photography, I was an angry Hollywood actress.
I'd failed to make acting on film a source of enlightenment. ... It took a lot
of meditating for me to find myself.Eventually, I realized my freedom wasn't going to come through acting
because I was doing scripts conceived by men who were selling women short
in the system. In order to survive, I had to find another technique. ...My goal is enlightenment. The camera is a tool, to express love. Each picture
is a part of me and I live with it.In good acting, like good photography, when I find the moment it's orgasmic.
I experience total merging of consciousness with the part I play or with the person
I photograph. It's a sensual, sexual, spiritual experience.Cynthia MacAdams [photo and quote from her site]
*books: Rising Goddess "...shows MacAdams mastery of nude subjects."
Emergence "...the spirit of emergent women, including Mary Ellen Mark, Gloria Steinem,
Patti Smith, Kate Millett and others."
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Monet's Lily Pond
___________________________________________
Digital Print by Julie Betts Testwuide
Ms. [Julie Betts] Testwuide and [her daughter] Molly use several methods to achieve the Impressionistic effect that makes their photographs look like paintings by Monet or Pissarro. Through experimentation, Ms. Testwuide has come up with a process that allows her to create effects that depart sharply from the original photograph.
"The photographs in the show were taken with an old Polaroid from the 60's or 70's," Ms. Testwuide said. "This camera uses the only film that works for our process. Before the image dries we use wooden tools such as cuticle sticks to manipulate the emulsion to an abstract image.
"We then reprint it and enlarge it onto watercolor paper and take it to the next step with colored pencils and pastels. The process is very new. I learned it was possible in a Polaroid workshop in the city, and I took off from there. I don't like color photos. They look too real, too 'now.' I've spent years trying to change photos and have them look more painterly."
from article: 'Painterly Photos' by a Mother and Daughter By Cynthia Magriel Wetzler [The New York Times, Sunday, January 11, 1998]
excerpt from article and photos from the site of Julie Betts Testwuide: www.juliearts.com
....*related page:.....digital imaging~ ~ ~ ~
more : **photography : page 1****photography : page 3**---_*****photography : resources: articles, sites, books.........nudity: art/identity/activism.
***visual arts...........*visual arts resources.
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