http://www.susansontag.com/
http://www.youtube.com/watch?
I would like to talk about both provided as I have structured my
questions that way.
Questions:
1. What, if any, are the similarities/differences of a slow, meditative medium such as drawing/painting compared to an instant appropriation tool such as photography? Would you consider a photograph an object, as you would a painting/sculpture? I think that it is the hand in the medium that determines the speed in the process, not the nature of the medium. For example, it may take a photographer hours to set up a shot, they meticulously go over every detail of the "stage", each color and texture, etc. And a painter, may be able to complete a painting in half and hour with more emphasis on immediacy and reaction. It depends on what is done with the photograph, sometimes I look at it as an image, sometimes I can see it as an object, but that is the same with a painting or sculpture as well.
2. What is the “message” of a photographic record? It is the idea of rememory and time, importance and exactness.
3. Would you consider “amateurism” when using a medium, an advantage or a disadvantage, while producing work? For example, is photo-realistic drawing the top of the heap? Does that knowledge/technique get in the way of some-sort of innocence/potential for inspiration? I think it is always better to have the knowledge, but it is also better to attain that knowledge for yourself even if you end up having others execute all or some portion of your work. I wouldn't consider you an amateur even in taking on a new medium such as silk screening, it is a new process but when it comes to the work, you are well aquatinted with understanding, producing and discussing your work.
4. In the film, The Blood of a Poet by Jean Cocteau, what images/sequences of voyeurism appear in the film? The idea of voyeurism comes up in the final section of the film. Does this have a relationship to photography as appropriation? I don't see photography as appropriation, unless it is an appropriation of an idea, but not as a moment or of an image in the real.
5. What does it mean psychologically when the theatre party applauds the death of the card shark? What does it mean, when viewing it as an artist? I am not entirely sure, but I thought of it as an idea of submission, as in to fate or dealt hands. He lost even when playing falsely, so his submission was praised by the audience. It also adds humanity to the viewer, they didn't like that not only the card player were violated but also the dead boy.
6. At what time does a highly personal, private, disgusting or elegant moment or event, becomes a spectacle? (Please refer to # 4 & #5) I think when you are doing something solely or solely motivated by the viewer or audience that it has become a spectacle.
7. (Made in 1930) Jean Cocteau uses several surrealistic motifs throughout the film, which is simultaneously intermixed with personal iconography. What about my work is self referential, and at the same time referencing the time in which we are living? Your archive of images is a set of documentation of a class within our generation, I think there is motif in your figure choices, but I think that the use of repetition in your form allows for subtle changes to be noticed and understood rather than it being singularly self referential.
8. Over the past two years, I have produced an extensive archive of images, with 35mm film only. What do you consider to be the differences between shooting in a digital format, and any sort of film format? I think that film slows you down and makes you look more, it makes each image thoughtful.
9. What are your observed advantages for me using photographic processes? The poetry in your work comes during the editing of your photographs, it allows you to grab and image and save it for later.
10. How hot is Lee Miller? She is way hot, we are talking like 3rd degree burns here!
No comments:
Post a Comment