Artist Life

Reset the clocks. Run the short loop. Walk the long way back.

Breakfast is grits and sweet potato. Veg sausages and espresso

Off to the garden shop — bags of mulch, compost; no seeds. They’ve already come from online stores. Skip the starter plants. They always tempt, but they never grow as well as from seed, or direct planting in the yarden.

Put prints from yesterday into flatten press.

Into the darkroom. Re-print yesterday’s negatives using softer developer. Ilford Multigrade and 1+9. Simple, reliable. Spend time testing imagery not chemistry.

Prints looking good. Mix scones. Bake scones. Lunch. Rice and yogurt. Start new rice. Back to darkroom

Go to next negatives on list of ‘print for edit’ — always 8x10s. Keep process simple, repeatable. Expand other areas of praxis.

Prints washing. Read some. Avoid the dead-enders, the freezer geezers that dominate the Web Forums.

Set prints drying. Cut veg for dinner. Plot out midnight readings.

Seek out Winogrand Color book? Not published?

Oh, write this and post. Do more. Do more often.

art daily

Eliot Porter Wars

We draw lines; we make selections, interpret them, and write history. Drawing upon sources means we sort thru the fog of distance and lost debates. What remains is a result of who wrote, why and, in response to what. This is the distance of time; remote memories remembered to meet this day’s question.

Too often, the audience wants a story to support their own; their hero should face the same problems with outcomes the reader understands and wants. We want to think we could have done that so we explain our choices with the hero’s story. Our path is the same as theirs…

We have spent all this time, a life getting something, only to find that we didn’t get anywhere.

Eliot Porter is a standard bearer of craft .. complex craft; something taking much effort, time, intense focus of energy. Something so difficult that few doubt its value. Something like Dye Transfer. Reality being what it is, those who have taken the longest to make a dye are those who consider it the hardest way to print. In some ways, they are correct. Making a dye transfer is time consuming, requiring attention to a process with many possible alterations. The key skill is energy.

So, where does this get. What is the history? Actually, what is the question?

Groupings of people view Eliot Porter’s work differently. The craft forum or the artforum come to differing conclusions about the importance of Mr. Porter’s work. They also hold different versions of Eliot Porter’s time at the Radiation Laboratory during World War II.

These versions, simply, are:

  • he was a machinist (meaning he could make precise craft items in later years)
  • he was a scheduler

he was a machinist

helped develop radar

And in 1987, the fuller tale: he was a clerk who expedited (scheduled) work within the shops at the Radiation Laboratory. He did help develop radar, along with several thousand others at the Rad Lab.

We use other’s war stories to fight our wars — tell our story. But as we all know, growing up is up to us.

So, is it necessary to be a machinist, or a scheduling clerk, or a Doctor, chemist to make Dye Transfer prints?

NO. Some of my better students had to rely completely on the step by step worksheets for the ‘craft’; however, they had the harder skill: they could see what they wanted the picture to look like.

[ I am doing edits on a post on the ways of making dyes in the early years …]

for more:

readings … PPE

Achen, Christopher H., and Bartels, Larry M.. 2016. Democracy for Realists: Why Elections Do Not Produce Responsive Government. Princeton, NJ: Princeton University Press.CrossRefGoogle ScholarBankert, Alexa. 2020. “Negative and Positive Partisanship in the 2016 U.S. Presidential Elections.” Political Behavior. ScholarBartels, Larry M. 2000. “Partisanship and Voting Behavior, 1952–1996.” American Journal of Political Science 44 (1): 35–50.CrossRefGoogle ScholarBrewer, Marilynn B. 1999. The Psychology of Prejudice: Ingroup Love or Outgroup Hate? Journal of Social Issues 55 (3): 429–44.CrossRefGoogle ScholarCampbell, Angus, Converse, Philip E., Miller, Warren E., and Stokes, Donald E.. 1960. The American Voter. Chicago: University of Chicago Press.Google ScholarCikara, Mina, and Fiske, Susan T.. 2013. “Their Pain, Our Pleasure: Stereotype Content and Schadenfreude.” Annals of the New York Academy of Sciences 1299: 52–59.CrossRefGoogle ScholarPubMedDemocracy Fund Voter Study Group. 2018. Views of the Electorate Research Survey, May 2018. [computer file] Release 1: December 11, 2018. Washington, DC: Democracy Fund Voter Study Group [producer] ScholarGreen, Donald, Palmquist, Bradley, and Schickler, Eric. 2004. Partisan Hearts and Minds. New Haven, CT: Yale University Press.Google ScholarKane, John V., Mason, Lilliana, and Wronski, Julie. 2021. “Who’s at the Party? Group Sentiments, Knowledge, and Partisan Identity.” The Journal of Politics. ScholarKlar, Samara, and Krupnikov, Yanna. 2016. Independent Politics. New York: Cambridge University Press.CrossRefGoogle ScholarMason, Lilliana. 2018. Uncivil Agreement: How Politics Became Our Identity. Chicago: University of Chicago Press.CrossRefGoogle ScholarMason, Lilliana, and Wronski, Julie. 2018. “One Tribe to Bind Them All: How Our Social Group Attachments Strengthen Partisanship.” Political Psychology 39 (S1): 257–77.CrossRefGoogle ScholarMason, Lilliana, Wronski, Julie, and Kane, John V.. 2021. “Replication Data for: Activating Animus: The Uniquely Social Roots of Trump Support.” Harvard Dataverse. Dataset. ScholarSchaffner, Brian F., Macwilliams, Matthew, and Nteta, Tatishe. 2018. “Understanding White Polarization in the 2016 Vote for President: The Sobering Role of Racism and Sexism.” Political Science Quarterly 133 (1): 9–34.CrossRefGoogle ScholarSides, John, Tesler, Michael, and Vavreck, Lynn. 2019. Identity Crisis: The 2016 Presidential Campaign and the Battle for the Meaning of America, 2nd edition. Princeton, NJ: Princeton University Press.CrossRefGoogle Scholar