Category: the fora

all that stuff people say online

bee shit

Posted on Posted in as written, creativity, fact, overnight notes, the fora

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

Links, refs:

—–

It took years for Carnie to see behind the mask:

By Their Death

Posted on Posted in A Symbol Life, minimum daily requirement, on photographers, the fora

The RIP of others. Two three today. There are few weeks that pass without a death of the world of meanings.

When younger, I didn’t note the passings of most of my field. Maybe because I was raised on independence. Perhaps because by 22 I’d knew the smell of cordite, skin, blood. Whatever mixture makes real actions, until the past decade, death was final as well as paper.

burial camps: you honor yourself in the way you honor them. The self you never had they are yourself they took the path you never took a live the life that you read about 

the thing they share: they work in black.

George Tice: [‘Bard of New Jersey’ With a Camera, Dies at 86] I knew of his work without following his life. His is work that meanders into or across my ready understanding. It can add. Maybe it will, although I doubt it since my work, world of workers is quite full. My ideas run over.

The others: two from the camp of others, those whose images didn’t cross over my middle or current table. They would have held me as a young imagination, just not for long. They took similar paths, maybe, but they certainly have similar followers. Often death is the marker of similarities.

Too often death marks our life with our absences, lacks, short falls. Reviewing a life provides stimulus to consider ours. Who do we live among. What is your relationship with photography. Do you have a constructive, nurturing system?

How much is enough?