The New Dye group, as it changed names with almost every meeting of a growing group, they gathered impressions of their growing community. What, if anything, do we call this thing?
… because, for a while one of the printing tests was to turn a pizza blue ..
–here’s an Ektachrome transparency of a pizza. Standard Manhattan pie. Print it so that it’s blue.
My, (we), asking that inner self about your result: do you find an interesting way to do it, or do you print it blue, like a good student would do.
Do you make an ashtray — piece of clay, shaped roundish, with dimples for the cigarettes.
This answered the question that wasn’t asked directly: are you a printer or a printmaker. Is there a question you can answer we haven’t asked. A question interesting to the group. This was always the second round of matriculation interview..
DYE TRANSFER: learn to tell time before taking the watch apart.
TODAY, soup is getting cold, salad getting warm. It is a film day. Stay away from the endless thread pullings.
Keeping the image from falling too far. “the misty territory of truthful fiction”
imagery stimulates the creative.. often stepping across the boundary setup by prior makers. An image type, structure, content, will make it into another mode. Ads/Art/Commerce/Collection.
People who like photographs to be of things, make photographs of things they like .. The things they like often are places; often large places, with large cameras. These same photographers rarely make photographs of people … frequently they avoid people..
When presented an image, an object, a picture of people … people presented without adornment, without background ,so that your attention is directed towards only that person..if you don’t like that type of person, you won’t like that photograph. You probably won’t like the photographer. You may feel confronted, intimidated.
Too often, a hardened view becomes a prejudice. Unexamined, so extending into more matters. Their prejudice extends deeper than their aesthetic matters, it has to vilify, not only them ,but those like them, even those who like them — a prejudice down to explaining the glasses. Maybe even cameras, cities
We know, of course, these critics don’t apply such level of scrutiny to themself. Instead they conform. Limiting what they know to when they were 30.
Richard Avedon [1923-2004] , in 1979, was commissioned by the Amon Carter Museum [Fort Worth, TX, aka Cow Town] to produce photographs attentive to to people with overlooked occupations — to summarize the West. The overlooked westerner. Laura Wilson, a Dallas photographer, worked with Avedon on the project.
[ Richard Avedon died in San Antonio, TX, on assignment…]. His work, in overview, is here.
>> I like the picture. Obviously, it was staged; most beekeepers don’t wear their bees. But it’s still a natural picture – its natural bee behavior. I think those who were against Avedon before…are the ones who were most vocal about this picture when it comes out.— Ronald Fisher. Not from “.. some place up north…” Still selling Vacant Acres honey[2024]
Initial contact. Davis, California, which, even to this day is in the West, not the north… within CA is is east of San Francisco.
Richard Avedon – Ronald Fisher, Beekeeper, Davis, California, May 9, 1981, printed 1985
Note: Bay Area Avedon: “A career retrospective that covered all areas of Avedon’s photography, it was Avedon’s initial collaboration with the curator and museum director David Ross. The first of Avedon’s photographs from In the American West debuted at Berkeley, an oversized portrait of Boyd Fortin, the rattlesnake skinner. The show was disrupted (though not closed) when Avedon’s 30-foot-long mural of Andy Warhol and Members of the Factory was vandalized by a visitor who tossed an iodine-filled balloon at Warhol’s head, destroying the photograph. ” — UNIVERSITY ART MUSEUM, BERKELEY, CA, 1980
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