mrcallow said:I would say that it is pretty gosh darn good, but you weren't asking me.
I feel compelled to ask if there isn't a bit of trolling in Bjorke's original post. Why mention digital and why get upset when that portion of the post is addressed?
bjorke said:(Tangential: my pal Chris Jordan definitely does use an 8x10+PS, and is enjoying much fine-arts success at the moment)
Good question! It never occured to me actually, I will ask him.c6h6o3 said:Are they acquaintances?
David A. Goldfarb said:I don't buy the alleged political neutrality. If you believe that industry is progress, you don't photograph junkyards, and I'm not willing to believe that Burtynsky is so naive as to have invested so much in building a body of work based on patterns and pretty colors. Even if the photographer's stated stance is neutral, that is not the stance of the work. The stated position is just the standard Realist disclaimer.
Why not? Junkyards are as much a part of the broad industrial process as any other.If you believe that industry is progress, you don't photograph junkyards
Sparky said:I, too, doubt it... "this sort"* of work tends to come from quite a strong critical leftist tradition. I think the work would be meaningless, if not completely trite, without this political layer.
David A. Goldfarb said:Yes, one can use consumer culture as a basis for additional art, but it will unquestionably express some political values one way or the other...
Thank you, that is exactly my point.c6h6o3 said:Is it the art that is unquestionably expressing the political values, or the life's experiences of the viewer? I can see diametrically opposed interpretations of this type of work coming from different viewers.
Perfectly comfortable with that in fact it fits well with my theme of varying interpretations (what was it Sontag said about photography, that it "confounds intention"?)mrcallow said:I think you missed my point.
Yup, I think we are in agreementmrcallow said:I was keeping it strictly to Sparky's point...
If in fact the artist was being benign (not making a political statement, but simply making an observation) and viewers draw the same conclusion as above or differing ones, but are moved to think or evaluate the subject on the artists terms or by the artists presentation of the subject, then the work is probably successful and probably meets a the artists goal.
It's just a wee riff on intention, meaning, and how much of that evaluation comes from the viewer (and the viewing context). The Winogrand pic is one I grabbed at random as indicative of photos that gain a large part of their value from their ability to derail tidy interpretation.mrcallow said:The example you give, coupled with the image you've posted leaves me with questions as well.
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