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:

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It took years for Carnie to see behind the mask:

If You Knew Dye Transfer

Posted on Posted in art biz, artgame, da net, dye transfer, visual mindTagged , , , , ,

How many times must a process die before you learn why? The insistence is common, consistent, durable — it lasts longer than the process itself. People of the Net hold the belief that dye transfer would be resurected, successfully, if peopls could see how fantastic it was, particularly in this age of terrible stuff.

You have to see it to believe it… You have to believe it to see it. Is that true in the case of dye transfers?

The role played by product names in art appreciation is high at the sales table, and among the foremost forums. 

“Not to find one's way around a city does not mean much. But to lose one's way in a city, as one loses one's way in a forest, requires some schooling. Street names must speak to the urban wanderer like the snapping of dry twigs, and little streets in the heart of the city must reflect the times of day, for him, as clearly as a mountain valley. This art I acquired rather late in life; it fulfilled a dream, of which the first traces were labyrinths on the blotting papers in my school notebooks.”
— Walter Benjamin

… understand the magic …

Dyes were seen and made by hundreds in the era of Photograph as Object suited to gallery and museum. The growth years of photography in art schools — 1975 – 1995.

Even still, it failed, being superseded by other processes. Direct to print processes such as Type Rs (Cibas, too) for Slide to print. And, Type Cs (chromogenics, RA-4s)for Negative to print. This later printing mode strikes hardest, since Kodak Pan Matrix film was introduced with Kodak masked color negative film

the advantage of real world experience is that is is real.
i read history in the bathroom; philosophy in the bedroom; poetry in the kitchen

If you knew it was a dye transfer would it interest you more? One group of people have made dye imbibition prints over the past decade. Have shown them in Los Angeles, San Francisco, Houston, Brooklyn, London … never calling them Dye Transfers, instead, they were dye prints, or ink transfers, and similar names. Some prints were sold, but so too were Epson Inkjets, Fujifilm RA-4s. Without making these as dyes, they sold as images. This was the basic interest of the collective group that had gone to the trouble of learning to make dyes. By make, understand that this meant having matrix film produced again.

Why did they keep this a secret private among themselves?

what would you rather talk about: process or *c, where *c is being defined, refined. Who asks, who would you be limited to talking too, with, if the topic were “process”.

Most people diffuse their interest by a bit of gossip. That mannerism is what diminishes a process to the point of pointless conversation.

Would people dive into dye transfer if given the chance? Nope, one [J* 826 ] of the Neu Ds posted on LFPF, offering a complete working dye transfer lab, including supplies… even going so far as saying she would meet them at an upcoming conference. No one, not even the loudest of counter pounder experts on dye transfer, and all topics color.

2011: 3 students
   ‘12 : +3
   ‘15 : +8