Three of my images have been chosen for @mobilephotonet BACKYARD exhibition as part of the @headonphotofestival! The official exhibition launch is this Sunday at 2pm, If you’re in Sydney please come along!The exhibition will be open to the public from 11am on Saturday the 18th May. The official launch (drinks and nibbles) is the day after at 2pm on Sunday (19 May). If your living locally we’d love for you to come along to the opening and please feel free to bring family and friends.The exhibition will open on weekends from 11am to 5pm and runs through to Sunday 23 June.
Over on the incoherent light tumblr, the question has been asked about how to define vernacular photography. Prompted in part because “…the last few years have seen a groundswell of projects…”
I wondered myself about this and hopped over to wikipedia, as you do, to see if I could find and answer and was surprised to see that the short stub on it had minimal citations or references. I was mortified and wanted to correct this oversight.
Well here we are 48 hours later, I have found a handful of references, some going back as far as the 1990s.
To respond to the definition of vernacular photography I can only summarise. To first understand the vernacular in photography one needs to categorise art photography as they are often seen at opposite ends of the machine made image spectrum.
Getting an agreement on the definition of art photography is like getting the whole world to love one another, or the Liberal party agreeing with The Labour party, or The Republican party agreeing with the Democratic party. With no answer to this, there is no answer to the definition of vernacular photography. I can see the logic, however I have neither the time nor patience to spell this out.
One final question though, why didn’t the author of the incoherent light do a bit of searching, I did. It wasn’t hard. I’m sure their local library would have some of the papers I accessed via my library system here in Australia? Hell even americansuburbx.com has several references to vernacular photography!
Sometimes I think blogs like incoherent light or even conscientious, are just reinventing the wheel, trying to create link bait, or heaven forbid just plain lazy?
[image from the wiki commons]
In what shaping up to be a busy year for top quality photography Canberra’s National Gallery of Art is showing an exhibition of world renowned street photographers such as Winogrand and Freidlander.
photo source National Gallery of Art, Canberra Australia.
start with this article
or try the summary
A quick check of the route to work each morning on my phone in the driveway as the car warms up determines the actual route to be taken. This morning, there was too much red on the faster of the two routes, so, alt route #2 it was, and of course as we are at the tail end of summer the light was just spectacular; something I get to see on route #1, but as it’s a freeway, no time to slow and down and really soak it in. This is from my car window at a major intersection, on the Eastern edge of the CBD.
From this blog
Photography skills are finite – there are only so many ways to technically take a photograph. Content is what differentiates. Photographers should live their own life and draw from it, and the culture that surrounds it – pop and traditional. Each country has it’s own values – aesthetic and social – that are unique, and within that yet, is the individual and his/her own opinions and views of the world around him/her.
think of the children.
Hickey is convinced that “art doesn’t lend itself to education.” He has said, “There is no knowledge there. It’s a set of propositions about how things should look, and it doesn’t contain any truth.” Moreover, he argues, art, like money, has no inherent value. Both are embodiments of a promise—in the case of art, that the experience of beauty can be sustained by owning it. Hickey says there’s no point in trying to establish a connection between the quality of a work of art and its reputation in art history. The only thing that can be figured out is its value, determined by an art market driven by desire (not investment)—a place that functions as a mysterious, refined sieve for capturing the best works:
“The give-and-take through which we ascertain the relative value of objects derives from the haggle of the marketplace. At the same time, even though there is always a hard market in objects at the spine of our arguments about beauty, most of the buying and selling is verbal and symbolic, something closer to a civic forum in which objects (often in the possession of others) are elected by free-floating constituencies of citizens as incarnations of their shared pleasures and desires.”
There is no such thing as Art. There are only artists. Once these were men who took coloured earth and roughed out the forms of a bison on the wall of a cave; today some buy their paints, and design posters for the hoardings; they did and do many other things. There is no harm in calling all these activities art as long as we keep in mind that such a word may mean very different things in different times and places, and as long as we realise that Art with a capital A has come to be something of a bogey and a fetish. You may crush and artist by telling him that what he has just done may be quite good in its own way, only it is not Art. And you may confound anyone enjoying a picture by declaring that what he liked in it was not the Art but something different.
The Story of Art, pg 4
pub 1972 Phaidon Press
Over the past two decades, digital technology has made us all more keenly aware of the malleability of the photographic image, and many lament a loss of faith in the testimony of the camera. What we have gained, however, is a fresh perspective on the history of the medium and its complex relationship to visual truth. Through today’s eyes, we can see that the old adage “the camera never lies” has always been photography’s supreme fiction.
More reasons to be in New York!
… as reality changes; modes of representation must also change
- Photography is boring… always has been, is now, and always will be. The enabling factor of digital imagery and the mass production and availability of images for our insatiable consumption has temporarily allowed us to believe that photography is exciting. Exciting like Television and Video. Sorry, It isn’t. Photography requires us to slow down and look for subtle nuance. The internet, like television, does not encourage or allow for nuance. Everything is built for speed and impulse. Instant satisfaction and rapid eye movement. The false reality of our times. When people spend the greatest part of their lives living on the internet, the internet becomes the greatest part of people’s lives.(1) We naturally want to include photography in our internet lives, however disappointing that relationship may be. We very quickly get the sickening and disheartening feeling that we have seen all there is to see
- For him, he says in conclusion, photography has essentially been a series of questions he has tried to find a way to answer. “It’s me asking myself: ‘How interesting is this medium? And how interesting can I make it for me? And, by the way, who the fuck am I?’” Has he found a definitive answer to that one? “No, not yet,” he says, smiling, “and time is running out. But I’m getting there.