Upon looking through these pictures, an idea of a home environment is presented. Each picture has its own quick, such as the picture of the puzzle or the first image of the very empty room with the things in one place illuminated. However, it is interesting that no people are present in any of these photographs. This is further explained when Maklafoff writes in her statement, “With the intentional exclusion of human occupants, my subjects spark curious speculation of their own.”
This reminds me of the work of Gregory Crewdson, in that they appear like movie sets, waiting for action to take place. I like this essence, because it allows the viewer to make their own commentary on the picture, thus appealing to a large audience. This style captivates the viewer by keeping them engaged.
Doorways and windows are also a common theme throughout this series. She explains it as a connection between the inside of the house and the outside world. I can see this point clearly illustrated in most of the pictures, but some of them have neither a door or window, which confuses me a bit as to the other purpose. However, overall I really like the strong connection to Crewdson, in the storytelling, movie-production atmosphere.
This week, I found a really interesting series of photography while stumbling around on the internet. I was searching for information on my artist presentation, and found this series of cool photographs. http://www.creativereview.co.uk/cr-blog/2010/october/martin-parr-brighton-photo-biennial
Different landscape, documentary-like pictures are represented here, similar to those taken by Martin Parr, the artist I selected for my presentation. There is some portraiture that is included, and one picture that looks like the inside of a boat with lots of reflections and mirrored images, making me think about my ongoing project. The last photographs in the series give an eerie feeling, most of them being individual shots, while the last one examines a man holding a doll-looking woman. A woman built of lettuce pieces shows just exactly how strange the last few pictures are. These images show “varying views of the world” just as Martin Parr’s work did, though communicated in two different ways.
These photographs are a series by unknown artists of easter bunnies. I figured, being easter and all, that I would make a festive post this week. These pictures remind me of the awkward family photo website. They are all dated, and they gave me a chuckle as I looked through them. Especially the one of the bunny holding the girl who looks like she is screaming. This reminds me of Paola’s project and how she is always carrying around her camera trying to get candid photos.
Also interesting was this series of work. This is done by a graduate student freshly out of college named Ashley Kauschinger. She stages her photography to investigate life and our connections with others. She focuses on themes such as “sex, long distance communication, domestic living, relationships and moments of transition”. I like her work because of the role of the light and shadows and how that plays a role with interacting with the emotions those types of images evoke. They all seem very distant. This is similar to Sam’s work with the intimate details. I really liked this grouping of images.
In this series, the viewer is often unclear of who is being photographed by not always including identifying features such as a face. Also, the strong use of dark shadows is very prevalent and works well to convey her themes and emotions.
Lastly, I liked this artists work as well. From the third picture on, it tells a story. Upon first glance, I did not notice any change until the end of the work. Upon reading the artists blurb, I saw that as this couple got increasingly closer to Texas, so did their appearance. They took pictures along their journey, proving to be a successful narrative piece.
Reading about the jump in technology on pg 314 really opened my eyes to how quickly the photographic process has progressed. It focuses on the digital aspects of photography, since we are living in “an age of electronic imaging”. This chapter gave me a sense of melancholy, as it wraps up in the digital age. Photographs are everywhere now a days and the fact that they used to be less available puts a more intrinsic value on them.
Another part of the chapter I found interesting was on page 335 when they talk about the emergence of cameras and go on to talk about camera phones. When you think about it, ten years ago, no one “expected” phones to have cameras. This idea has led to mass sharing of photos online. I especially like the quote by the creator of Flikr on page 337 that says, “The nature of photography now is it’s in motion…. It doesn’t stop time anymore, and that a loss. But there’s a kind of beauty to that, too.” Were there any other parts of the chapter that related to your opinions about the art of photography
“Walls of Venice” is a series of images from Venice, Italy that are inspired by both Abstract Expressionism and Minimalism. As I lost myself in the streets and alleys of that wonderfully unique and timeless city, I found myself more drawn to photographing what was on the walls than the more typical and iconic sights of the city. Each image is a study in composition and my vision of finding the art in the common, everyday scenes that are so often passed by without our noticing them. I find it exhilarating, this adventure, this searching, this quest for discovering the beauty in the ordinary. Ultimately, the pictures are about texture, line, and form, about re-examining the elements of design in images.